- 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.
- Elena Damiani, “Macelo 3”, 2012, Series: Macelos, Hand-carved travertine, glass, collage on found bookplate, 50 x 80 x 35 cm. Photo credit: Daniel Giannoni.
- Elena Damiani, “Journeying Loc.1 and Loc.2”, 2012, Series: Journeying, Collage, 37 x 70 x 3 cm. Photo credit: Artist.
- Elena Damiani, “Triangulation”, 2012, Series: While Wandering, Print on found bookplates, acid free tissue paper, 29.7 x 41 cm. Photo credit: Artist.
- Elena Damiani, “Down by the water”, 2012, Series: While Wandering, Print on found bookplates, acid free tissue paper, 29.7 x 41 cm. Photo credit: Artist.
- Elena Damiani, “Intersticio”, 2012, Video projection, (00:05:26), Variable dimensions. Photo credit: Artist.
- Elena Damiani, “Mistake 5”, 2012, Series: The Exactness of Mistake, Collage on found book page, 25 x 24.5 cm. Photo credit: Artist.
- Elena Damiani, “Fading field N3. Installation view”, 2013, Series: Fading fields, Digital print on silk chiffon, wood structure, black urethane paint, Variable dimensions. Site-specific project. Location: 9th Mercosul Biennial, Porto Alegre, Brazil. Photo credit: Bienal do Mercosul.
- Elena Damiani, “The Surface Reader”, 2013, Series: The Surface Reader, Collage. Watercolour on handmade Lokta Barbour grey paper, 154 x 118 cm. Photo credit: Joe Clark.
- Elena Damiani, “Testigos (45 rods)”, 2013, Series: The Surface Reader, Hand-carved and polished travertine, resin, ebony veneer, 3 x 145 x 70 cm. Photo credit: Joe Clark.
- Elena Damiani, “Excavating and Remembering”, 2013, Series: The Surface Reader, Hand-carved and polished travertine, cloth hand-bound books, collage on found maps and Kawanaka paper, 22 x 90 x 90 cm. Photo credit: Joe Clark.
- Elena Damiani, “Testigos”, 2014, Hand-carved and polished travertine, onyx, resin, stainless steel, 180 x 180 x 11 cm. Site-specific project. Location: Private Collection, Lima, Peru. Photo credit: Artist.
- Elena Damiani, “Brise-soleil 1”, 2014, Hand-carved and polished travertine, 110 x 136 x 15 cm. Photo credit: Daniel Giannoni.
- Elena Damiani, “Rude Rocks N1”, 2015, Series: Rude Rocks, Hand-carved and polished travertine, copper, stainless steel, 47 x 60 x 12 cm. Photo credit: Artist.
- Elena Damiani, “Rude Rocks N2 and N3. Installation view”, 2015, Series: Rude Rocks, Hand-carved and polished Breccia marble, copper, raw steel, 204 x 300 x 300 cm. Site-specific project. Location: 56 Venice Biennale, All the World’s Futures, Venice, Italy. Photo credit: Artist.
- Elena Damiani, “Rude Rocks N4 (Turrón after Bratke). Installation view “, 2015, Series: Rude Rocks, Hand-carved and polished Breccia marble, steel structure, copper, digital prints on tempered glass, black urethane paint, matte urethane lacquer, 211 x 180 x 38 cm. Site-specific project. Location: 56 Venice Biennale, All the World’s Futures, Venice, Italy. Photo credit: Alessandra Chemollo. Courtesy by la Biennale di Venezia.
My conceptual interests –understanding the present by looking into the past and recognizing the potential of images to resonate and prompt a universe of associations in the collective memory– guide my practice of transforming found material into collages, sculptures, and video installations. In my investigation I turn to scientific studies such as geology, archeology, and cartography to explore forms of fragmentation and material reinterpretation. My work seeks to redefine natural realms and their generative processes, presenting them as incomplete and ambiguous spaces where multiple times and topographies seem to unfold in unison.
Mi práctica es guiada por intereses críticos relacionados al entendimiento del presente a través de una mirada al pasado y a la capacidad evocativa de las imágenes para resonar y desencadenar un universo de asociaciones en la memoria colectiva; estos intereses transforman materiales encontrados en collages, esculturas y video instalaciones. En mi investigación recurro a temas como la geología, arqueología y cartografía para explorar formas de fragmentación y reinterpretación de material documentado y racionalizado por la ciencia que estudia la composición, evolución e historia de la Tierra. Mi obra busca reinterpretar estadíos naturales y sus procesos generativos presentándolos como espacios incompletos y ambiguos en donde se fusionan múltiples tiempos y topografías.
Selected Biographical Information
Education / Training
- 2008-2010: MA Fine Arts, Goldsmiths College, London, United Kingdom.
- 2000-2005: BA Fine Arts, Escuela Superior de Bellas Artes Corriente Alterna, Lima, Peru.
Prizes / Fellowships
- 2014: Americas Society’s Commission for David Rockefeller Atrium, Americas Society, New York, USA.
- 2006: Special Mention , 12th International Arts and Digital Cultures Festival of Gran Canaria, Las Palmas de Gran Canaria, Spain.
- 2006: Second Prize, 9th French-Peruvian Contest of Visual Arts “Pasaporte para un Artista”, Lima, Peru.
- 2004: Production Prize, 2nd Peruvian Contest of Video and Electronic Arts, Lima, Peru.
Solo Exhibitions
- 2013: “All The Pieces Back Together”, Selma Feriani Gallery, London, United Kingdom.
- 2013: “La Chambre“, Elaine Levy Project, Brussels, Belgium.
- 2012: “History Decomposes Into Images, Not Into Narratives”, Revolver Galeria, Lima, Peru.
- 2011: “Elena Damiani and Alois Godinat“, Elaine Levy Project, Brussels, Belgium.
- 2011: “The Second Treasury of Stanleth”, Selma Feriani Gallery, London, United Kingdom.
- 2011: “Vanishing Point Vantage Point”, Dohyang Lee Galerie, Paris, France.
- 2007: “Sites”, Galeria Vertice, Lima, Peru.
- 2005: “1st International Print Biennale – Prints and Motion “, Escuela Superior de Bellas Artes Corriente Alterna, Lima, Peru.
- 2005: “Geo”, Sala Luis Miro Quesada Garland, Lima, Peru.
- 2003: “Moción animal”, Espacio La Culpable, Lima, Peru.
Group Exhibitions
- 2015: “THEOREM, You Simply Destroy the Image I Always Had of Myself“, Mana Contemporary, New Jersey, USA.
- 2015: “Vienna Biennale – Future Light: Escaping Transparency“, MAK Museum of Applied Arts, Vienna, Austria.
- 2015: “All the World’s Futures“, 56 Venice Biennale International Art Exhibition, Venice, Italy.
- 2014: “Idea of Fracture – Opinione Latina P.2“, Francesca Minini, Milan, Italy.
- 2014: “Spatial Acts: Americas Society Commissions Art“, Americas Society, New York, USA.
- 2014: “BIM Bienal de la Imagen y Movimiento“, Buenos Aires, Argentina.
- 2013: “Project 35 Volume 2“, ICI Independent Curators International, touring exhibition.
- 2013: “Videoarte 01- Reopening the blackbox of technology“, MAC Museo de Arte Contemporaneo, Lima, Peru.
- 2013: “9th Bienal do Mercosul“, Porto Alegre, Brazil.
- 2013: “Ciclorama“, Museo Tamayo Arte Contemporaneo, Mexico City, Mexico.
Collections
- Museo Tamayo Arte Contemporaneo, Mexico City, Mexico.
- Kadist Art Foundation, San Francisco, USA.
- Kamel Lazaar Foundation, Geneva, Switzerland.
- Coleccion Patricia Phelps de Cisneros, Caracas / New York, Venezuela / USA.
- Mario Navarro, “Isodomum”, 2014, Bricks, mirrors, Variable dimensions. Photo credit: Lake Verea.
- Mario Navarro, “The Original Accident”, 2013, Series: The Original Accident, Metallic holders, two way mirrors, Variable dimensions. ArtNexus, Colección Diéresis, Fundación Jumex Arte Contemporáneo, Sayago & Pardon.
- Mario Navarro, “Estética de la desaparición”, 2012, Wood, mirrors, adhesive vinyl, 330 x 140 x 280 cm. Colección Diéresis. Photo credit: Hugo Martínez.
- Mario Navarro, “Untitled (Hexagonos)”, 2013, Concrete, mirror, 60 x 68 x 200 cm. Photo credit: Hugo Martínez.
- Mario Navarro, “Delimitador”, 2012, Wood, 130 x 150 x 190 cm.
- Mario Navarro, “Expansor”, 2012, Wood, 130 x 190 x 150 cm.
- Mario Navarro, “Autotransformacion”, 2011, Concrete, 105 x 75 x 15 cm.
- Mario Navarro, “Facade No. 1”, 2012, Wood, metallic grid, 101 x 96 cm.
- Mario Navarro, “Untitled (Movil 5)”, 2014, Concrete, metal rod, 65 x 97 x 12 cm.
- Mario Navarro, “Greetings from Chandigarh”, 2012, Piezography print on cotton paper, 100 x 100 cm.
- Mario Navarro, “Converging point”, 2015, Sanding mesh collage, 70 x 60 cm.
- Mario Navarro, “Greetings from Marseille”, 2014, Piezography print on cotton paper, 100 x 100 cm.
- Mario Navarro, “Vanishing Point”, 2012, Screen pint on paper, 100 x 100 cm.
- Mario Navarro, “The Farnsworth Flood”, 2012, Pencil on paper, 100 x 150 cm. Frances R. Dittmer Collection.
- Mario Navarro, “The Satelite Towers Destruction”, 2014, Pencil on paper, 100 x 150 cm. The Petitgas Collection.
The formal aesthetics and syntax of my work stand as an alternative reference to certain classes of objects, just as words do not « refer » to things themselves in Saussure’s theory of linguistics. Objects and architectures have meanings as points and conceptual significations within an entire system of relations as each and every element evokes an idea different, let’s say, than that of another class of objects in virtue of their literal properties. I believe in creating a meta-class of language that questions both architecture and the way we look at it but in different terms. Architecture is re-contextualized.
Issues of perception, the combination of language and spatial elements, the sculptural properties of language, matter/materials and their representations are lines of research that I have been investigating lately. The relations between architectures and forms, and more specifically, the decomposition of architectural paradigms (balance, symmetry, organization of units and the figure of the architect) are some of the constant interests and explorations in the ongoing and never finalized propositions that I create.
Traducido del inglés
La estética formal y sintaxis de mi trabajo se destacan como una referencia alternativa a ciertas clases de objetos, de la misma forma que las palabras no se « refieren » a las cosas mismas, como en la teoría lingüística de Saussure. Los objetos y las arquitecturas tienen significados como puntos, y significaciones conceptuales dentro de todo un sistema de relaciones, así como cada elemento evoca una idea diferente, digamos, que la de otra clase de objetos en virtud de sus propiedades literales. Creo en la creación de un meta-lenguaje que cuestione tanto la arquitectura como el modo en que lo observamos, pero en diferentes términos. La arquitectura es re-contextualizada.
Las cuestiones de la percepción, la combinación del lenguaje y elementos espaciales, las propiedades escultóricas del lenguaje, materia / materiales y sus representaciones, son las líneas de investigación que he estado realizando últimamente. Las relaciones entre las arquitecturas y las formas, y más específicamente, la descomposición de los paradigmas arquitectónicos (el equilibrio, la simetría, la organización de unidades y la figura del arquitecto) son algunos de los intereses constantes y de las exploraciones de las proposiciones siempre inconclusas y en desarrollo.
Selected Biographical Information
Education / Training
- 2003-2008: Bachelor in Architecture, Instituto Tecnológico de Estudios Superiores de Occidente (ITESO), Guadalajara, Mexico.
Solo Exhibitions
- 2015: “Aesthetical Irregularities”, Proyecto Paralelo, Mexico City, Mexico.
- 2012: “Estética de la desaparición”, Zona MACO México Arte Contemporáneo, Mexico City, Mexico.
Group Exhibitions
- 2015: “Map of the New Art: The Future is Unwritten“, Fondazione Giorgi Cini, Venice, Italy.
- 2015: “A False Horizon: Art from Latin America“, Gallery 151, New York, USA.
- 2014: “Verano/Summer“, Proyecto Paralelo, Mexico City, Mexico.
- 2014: “Leviatan”, Museo de Arte Raul Anguiano, Guadalajara, Mexico.
- 2014: “Salón ACME”, Mexico City, Mexico.
- 2014: “Salon ACME In Situ”, Mexico City, Mexico.
- 2013: “Sin necesidad de profecías”, Galería Diéresis, Guadalajara, Mexico.
- 2013: “Salon ACME”, Mexico City, Mexico.
- 2013: “Paradise is an Island so is Hell”, La Brignonesca, Careyes, Mexico.
- 2012: “Whatever Works”, Laboratorio de Arte Jorge Martínez, Guadalajara, Mexico.
- 2011: “Don y Látigo”, Sala Juárez, Guadalajara, Mexico.
- 2011: “No puedo prometer nada”, Laboratorio de Arte Jorge Martínez, Guadalajara, Mexico.
Publications
- Imago Mundi – Luciano Benneton Collection, Mexico: The Future is Unwritten (Venice: Fabrica).
Collections
- ArtNexus, Bogota, Colombia.
- Colección Diéresis, Guadalajara, Mexico.
- Frances R. Dittmer Collection, Chicago, USA.
- Fundación Jumex Arte Contemporáneo, Mexico City, Mexico.
- Sayago & Pardon, California, USA.
- The Petitgas Collection, London, United Kingdom.
August 18, 2015 Alice Quaresma https://abstractioninaction.com/artists/alice-quaresma/
- Alice Quaresma, “Chaotic Silence 1”, 2014, Series: Chaotic Silence, Wood sheet over photo print, 120 x 100 cm. Photo credit: artist.
- Alice Quaresma, “Chaotic Silence 2”, 2014, Series: Chaotic Silence, Wood sheet and formica over photograph print, 60 x 90 cm. Photo credit: artist.
- Alice Quaresma, “Chaotic Silence 3”, 2014, Series: Chaotic Silence, Paper over photograph print, 65 x 90 cm. Photo credit: artist.
- Alice Quaresma, “Chaotic Silence 4”, 2014, Series: Chaotic Silence, Paper over photographic print, 60 x 75 cm. Photo credit: artist.
- Alice Quaresma, “Chaotic Silence 5”, 2014, Series: Chaotic Silence, Wood panel over photograph print, 60 x 90 cm. Photo credit: artist.
- Alice Quaresma, “Chaotic Silence 6”, 2014, Series: Chaotic Silence, Wood sheet and paper over photograph print, 80 x 58 cm. Photo credit: artist.
- Alice Quaresma, “Chaotic Silence 7”, 2014, Series: Chaotic Silence, Photo and color paper collage, 52 x 80 cm. Photo credit: artist.
- Alice Quaresma, “Ilha (Island)”, 2015, Series: Além (Beyond), Oil pastel, marker and color paper over photographic print, 76 x 51 cm.
- Alice Quaresma, “Acordado (Awake)”, 2015, Series: Além (Beyond), Color papers over photographic print, 89 x 84 cm.
- Alice Quaresma, “Utopia Incerta (Broken Utopia)”, 2015, Series: Além (Beyond), Acrylic paint and color paper over photographic print, 64 x 76 cm.
- Alice Quaresma, “Conflito do Tempo (Time conflict)”, 2015, Series: Além (Beyond), Color paper, pencil, marker and B&W photograph over photographic print, 51 x 51 cm.
- Alice Quaresma, “London”, 2015, Series: Além (Beyond), Color papers, tape and pencil over photographic print, 51 x 41 cm.
- Alice Quaresma, “Pub”, 2015, Series: Além (Beyond), Color tape and acrylic paint over photographic print, 38 x 25 cm.
- Alice Quaresma, “Porto (Dock)”, 2015, Series: Além (Beyond), Color tape, pencil and paper over photographic print, 51 x 64 cm.
- Alice Quaresma, “Você e Eu (You and Me)”, 2015, Series: Além (Beyond), Color tape and paper over photographic print, 51 x 51 cm.
- Alice Quaresma, “Teto Frágíl (Roof Fragile)”, 2015, Series: Além (Beyond), Acrylic paint, drawing and color marker over photographic print, 46 x 51 cm.
- Alice Quaresma, “Recomeço (Starting Over)”, 2015, Series: Além (Beyond), Oil pastel over photographic print, 51 x 33 cm.
- Alice Quaresma, “Cruzando Fronteiras (Crossing Borders)”, 2015, Series: Além (Beyond), Color pencil over photographic print, 46 x 36 cm.
My work elaborates on life “displacements” that take you to an uncomfortable place and push you to your limits. The cultural remnants that I encounter living overseas as a foreigner have always inspired me to create work that deals with memory, identity and melancholy. I am fascinated by the unique moments I experience when I live away from my culture. Despite the visual clarity of my artwork, the pieces convey a sense of oddness and casual dysfunction. I am interested in materials within my art practice that do not blend, but overlap to hide sections of the composition and reveal others. The revelations in the work come through a sense of surprise. My current work draws great influence from painting and photography. My fascination with painting started as a kid and it is my biggest challenge. Every time I paint I grow restless and find it difficult to resolve an artwork. However, this challenge teaches me to appreciate the qualities of painting as a process in my work.
My work has an almost abstract quality. The precise marks and interventions (with paper, tape, wood, paint and oil pastel) directly on photographic prints – produce an authentic quality to the work. As a result, my artistic investigation transcends the language of photography and acquires qualities of painting. I have been intrigued by ways to break the qualities of the photographic medium in my art practice. One of the art movements that has been especially inspiring to me is the Neo-Concrete art movement from the 1960’s (Rio de Janeiro, Brazil) where artists were using geometry as a way to expand the possibilities of texture and sensorial qualities in art. The work’s often experimental qualities allowed it to undergo a process of self-transformation.
Traducido del inglés
Mi trabajo profundiza en los “desplazamientos” de la vida que te llevan a un lugar incómodo y que te empujan hasta sus límites. Los restos culturales con los que me encuentro al estar viviendo en el extranjero siempre me han inspirado a crear obra que tenga que ver con la memoria, la identidad y la melancolía. Tengo una fascinación por los momentos únicos que experimento cuando vivo lejos de mi cultura natal. A pesar de la claridad visual de mi obra, las piezas transmiten una sensación de extrañeza y disfunción casual. Como parte de mi práctica artística, me interesan los materiales que no se mezclan, pero que se superponen para ocultar secciones de la composición y revelar otras. Las revelaciones en mi trabajo vienen a través de un sentido de sorpresa. Mi trabajo actual tiene una gran influencia de la pintura y la fotografía. Mi fascinación por la pintura comenzó desde que era una niña y se ha convertido en mi mayor reto. Cada vez que pinto, crezco de manera inquieta, y me resulta difícil resolver de esta manera la obra de arte. Sin embargo, este reto me enseña a apreciar las cualidades de la pintura como un proceso en mi trabajo.
Mi obra tiene una cualidad casi abstracta. Las marcas e intervenciones (con papel, cinta, madera, pintura y pastel al óleo) hechas sobre impresiones fotográficas, producen una auténtica calidad de la obra. Como resultado, mi investigación artística trasciende el lenguaje de la fotografía y adquiere cualidades de la pintura. Me ha intrigado la manera de romper las cualidades del medio fotográfico como parte de mi práctica artística. Uno de los movimientos artísticos que ha sido especialmente inspirados para mí es el movimiento de arte Neo-concreto de la década de 1960 (Río de Janeiro, Brasil) en donde los artistas utilizaron la geometría como una forma de ampliar las posibilidades de la textura y las cualidades sensoriales en el arte. Las cualidades a menudo experimentales del trabajo, permiten que éste se someta a un proceso de auto-transformación.
Selected Biographical Information
Education / Training
- 2007-2009: Master of Fine Arts, Pratt Institute, New York, USA.
- 2003-2007: Bachelor of Fine Arts, Central Saint Martins School of Art and Design (UAL), London, UK.
Prizes / Fellowships
- 2014: Foam Talent, Foam, Amsterdam, Netherlands.
- 2014: Jardim do Hermes Residency, Hermes Artes Visuais, São Paulo, Brazil.
- 2013: Barracão Maravilha Residency, Barracão Maravilha, Rio de Janeiro, Brazil.
- 2012: School of Visual Arts Residency, School Of Visual Arts (SVA), New York, Brazil.
- 2012: Camera Club Of New York Honorable Mention, Camera Club of New York (CCNY), New York, USA.
- 2010: Garimpo (finalist), Das Artes, Rio de Janeiro, Brazil.
- 2009: PS122 Prize, PS122, New York, USA.
Solo Exhibitions
- 2015: “Além (Beyond)”, Fauna Gallery, São Paulo, Brazil.
- 2013: “Bichos (Beast)”, Mercedes Viegas Gallery, Rio de Janeiro, Brazil.
- 2013: “Raízes (Roots)”, Barracão Maravilha , Rio de Janeiro, Brazil.
- 2011: “Duas Pessoas Cem Lugares (Two People and One Hundred Places)”, Mercedes Viegas Gallery, Rio de Janeiro, Brazil.
- 2010: “A Casa Americana (American Home)”, PS122 Gallery, New York, USA.
Group Exhibitions
- 2014: “20”, Mercedes Viegas gallery, Rio de Janeiro, Brazil.
- 2014: “Group show”, Fred Giampietro Gallery, New Haven, USA.
- 2014: “Foam Talent Exhibition”, East Wing Gallery, Dubai, United Arab Emirates.
- 2014: “In-dissonance”, The John Slade Ely House (Center for Contemporary Art), New Haven, USA.
- 2014: “Billboard 2×2, Special Projects”, Unseen Photo Fair, Amsterdam, Netherlands.
- 2014: “Foam Talent Exhibition”, L’Atelier Néerlandais, Paris, France.
- 2014: “Eat The Food, Not Its Name”, Clemente Soto Velez Center, New York, USA.
- 2013: “Constructions for Nowhere”, Mercedes Viegas Gallery, Rio de Janeiro, Brazil.
- 2013: “New Collection Project”, Orlando Lemos Gallery, Minas Gerais, Brazil.
- 2012: “Collective 12”, Mercedes Viegas Gallery, Rio de Janeiro, Brazil.
- 2012: “MACAA Members Juried Exhibition”, Wayne State University , Detroit, USA.
- 2009: “Some Place Like Home”, Daniel Cooney Gallery , New York, USA.
Publications
- Arianna Catania, “31 Photographs that Will Show You The Future of Photography“, The Huffington Post, January 1st 2015.
- IMA Magazine, “Is this Photo or Painting?”, IMA Magazine, Vol. 10, Nov 2014.
- Nani Rubin, “Obra em Progresso”, O Globo, December 1st 2014.
- Karin Bareman, “Recherche”, Foam Magazine, September 2014.
- Charlie Ambler, “From ArtRio to the São Paulo Biennial, Here Are 9 Brazilian Artists Under 35 You Need to Know“, Artsy.net, September 2014.
- Gazeta do Povo Newspaper, “New Art on the Web”, Gazeta do Povo Newspaper, September 7th 2014.
- O Fluminense Newspaper, “Alice Quaresma traz seus “Bichos” a Mercedes Viegas”, O Fluminense Newspaper, September 14th 2013.
Collections
- Museu de Fotografia de Curitiba, Curitiba, Brazil.
Links
May 15, 2015 Ivelisse Jiménez https://abstractioninaction.com/artists/ivelisse-jimenez/- ivelisse jimenez, “description without place.2”, 2006, Series: description without place, Painting on canvas, collage of plastic and plexiglass partially covered by a screen of mylar. What is behind can be seen from the sides. The frontal view offers a blurred perspective. , Variable dimensions.
- ivelisse jimenez, “Ten con Ten 21”, 2003, Series: Ten con Ten, painting on canvas, collage of plastic and plexiglass partially covered by a screen of mylar. What is behind can be seen from the sides. The frontal view offers a blurred perspective. Variable dimensions.
- ivelisse jimenez, “goes without saying”, 2014, modules of painting on canvas, collage of plastic and plexiglass partially covered by screens of mylar. What is behind can be seen from the sides. The frontal view offers a blurred perspective, Variable dimensions.
Selected Biographical Information
Education / Training
- 1997-1999: Master of Fine Arts, New York University, New York, USA.
Prizes / Fellowships
- 2012: Arte Laguna first prize in painting, Arte Laguna , Venice, Italy.
- 2009: Joan Mitchell Award for painters and scul, Joan Mitchell, New York, US.
Links
January 28, 2015 Rafael Reveron-Pojan https://abstractioninaction.com/artists/rafael-reveron-pojan/- RAFAEL REVERON-POJAN, “56 Panopticon empty spaces”, 2012, Series: SUPER-BLOCK espacio y otras especies, Acrylic paint on sewed cardboard, hooked on the wall with pins, Variable dimensions. Photo credit: Courtesy of the artist.
- RAFAEL REVERON-POJAN, “56 Panopticon empty spaces (DETALLE)”, 2012, Series: SUPER-BLOCK espacio y otras especies, Acrylic paint on sewed cardboard, hooked on the wall with pins, Variable dimensions. Photo credit: Courtesy of the artist.
- RAFAEL REVERON-POJAN, “COLLAPSED-3-HOUSING-UNIT-EMPTY-SPACE”, 2013, Acrylic paint on sewed cardboard, hooked on the wall with pins, Variable dimensions. Photo credit: Courtesy of the artist.
- RAFAEL REVERON-POJAN, “Topographic cloud (DETALLE)”, 2012, Series: SUPER-BLOCK espacio y otras especies, Acrylic paint on sewed cardboard, hooked on the wall with pins, Variable dimensions. Photo credit: Courtesy of the artist.
- RAFAEL REVERON-POJAN, “Topographic cloud”, 2012, Series: SUPER-BLOCK espacio y otras especies, Acrylic paint on sewed cardboard, hooked on the wall with pins, Variable dimensions. Photo credit: Courtesy of the artist.
- RAFAEL REVERON-POJAN, “Non cubic empty spaces”, 2012, Series: SUPER-BLOCK espacio y otras especies, Acrylic paint on sewed cardboard, hooked on the wall with pins, Variable dimensions. Photo credit: Courtesy of the artist.
- RAFAEL REVERON-POJAN, “Adding 6 lineal empty spaces”, 2011, Series: SUPER-BLOCK espacio y otras especies, Acrylic paint on sewed cardboard, hooked on the wall with pins, Variable dimensions. Photo credit: Courtesy of the artist.
- RAFAEL REVERON-POJAN, “Tin Tin minimal unit empty space”, 2012, Series: SUPER-BLOCK espacio y otras especies, Acrylic paint on sewed cardboard, hooked on the wall with pins, Variable dimensions. Photo credit: Courtesy of the artist.
- Rafael Reveron-Pojan, “Correo-Reticularea-GEGO”, 2012, Series: Correo-Reticularea-GEGO MACC 2012, Sewed postcards, Variable dimensions. Courtesy of the artist.
- Rafael Reveron-Pojan, “automatic-architecture-RedVsBlue-20141118”, 2014, Series: arquitecturas automáticas, Acrylic paint on canvas, 50 x 50 cm. Courtesy of the artist.
- Rafael Reveron-Pojan, “automatic-architecture-RedVsBlue-20141224”, 2014, Series: arquitecturas automáticas, Acrylic paint on canvas, 38 x 38 cm. Courtesy of the artist.
- Rafael Reveron-Pojan, “automatic-architecture-cluster-guarimba-red-blue-B”, 2014, Series: arquitecturas automáticas, Drawings, crayon on paper and sewing, 38 x 38 cm. Courtesy of the artist.
- Rafael Reveron-Pojan, “single-unit-housing-project-space”, 2013, Series: arquitecturas automáticas, Crayon on albanel paper, 35 x 95 cm. Courtesy of the artist.
- Rafael Reveron-Pojan, “single-unit-housing-project-space”, 2013, Series: arquitecturas automáticas, Crayon on albanel paper, 35 x 95 cm. Courtesy of the artist.
- Rafael Reveron-Pojan, “20-single-unit-housing-A”, 2013, Series: arquitecturas automáticas, Sewed paper, 30 x 30 cm. Courtesy of the artist.
- Rafael Reveron-Pojan, “table-room-living-room”, 2011, Series: In-Side out 2011, Cut out paper on glass case, 34 x 43 x 7 cm. Private Collection. Courtesy of the artist.
Translated from Spanish
Some notes about the politics in my work, called “automatic architectures…”
Join together, get shelter, protection, appropriation. Appropriation of the space, creation of place, object.
Attachment.
To demolish,
To build…
“All build-up is refuge against danger.”
Flavio de Carvalho | Rio de Janeiro | 1899-1973
To a large extent, my work lies beneath like an architecture, as a strategy of ideological appropriation of space, the conquest of place, of the object, of the contained body… Do not think, do not live, do not feel… Let me build you, win that battle of “abitare,” I build you and think you, I appropriate you, live in you, in your space, in that space in between which surrounds you, that makes you, that molds you, configures you, and figures you.
The “Empty Box” becomes imposed in its abstraction, its economy knows no rival, and its synthesis is undefeated. That subdivided, fragmented, quadratic, cubic, universal, reproducible, “built-up” space. Optimal, minimal.
The ultimate ending: winning
territory,
defeat the
weak.
Totalitarianism of the majority; nothing and no one can win the battle over this cubic formula…
Place,
Home.
My “automatic architectures,” are conceived as models of “creation and destruction.” Their origin is tangentially dominated by patterns, actions around the notion of “appropriation.” To make myself one with space, place, and object, through a predetermined and preconceived model. An ideological, formal structure that models actions. To think of void as a structural content, is that border between collapse and equilibrium of content and container… Lines that intersect, supremacy battles between horizontality and verticality of space, of the object and its drifts. The imminence of matter to be transformed into an object, regroup and reconcile as a new form. To join spaces… imposing the plural to the singular, to the individual… Making the indivisible visible. To join as defense, not as addition. Build up to distract, to sublimate, to delete, eliminate, destroy.
Lines draw themselves in a describing without writing. As with the spiral, the constructive space is an internal ideology; its limit emerges on every layer, from intimacy.
To build and destroy. Collapsing is not an improper accident of the structure, but an inevitable stage of existence itself. Collapse, implosion, deflation… Strategies in the poetics of the terminal. To build and destroy. Modernist therapy of an infinitely delayed agony. Running an incomplete defeat.
Matter is raw, quotidian, on the verge, cyclical, re-oriented, re-conceived, resented, re-lived… Every skin suggests its needlework, its stitches… in its reusing, a corner disappears; it’s filed down, making its own way, its exile. To sew and undo… String together and undo, and gain aerial space, the dream of “flying,” of the suspended, the pending. Always an imminent departure, or loss. Stringing together without completing the fabric… Weaving looms without instructions. Too many complications for the pre-functions. Improvisation of survival, of error, of the everyday, of the doing without thinking, of being without being, without permanence.
Today, the promised paradise… Looks more like hell.
I do not see, I do not speak, I do not listen, I do not feel…
I do not exist.
I only
Exist
For
The
Promised
“Paradise.”
Algunas notas sobre las políticas asumidas por mi trabajo en las llamadas “arquitecturas automáticas”…
Aglomerar, refugiarse, protegerse, apropiarse. Apropiación del espacio, creación del lugar, objeto.
Apego.
Demoler,
construir…
“Toda aglomeración es un refugio contra un peligro”.
Flavio de Carvalho | Rio de Janeiro | 1899-1973
En gran medida mi obra subyace como una arquitectura, como una estrategia de apropiación ideológica del espacio, la conquista del lugar, del objeto, del cuerpo contenido… No pienses, no vivas, no sientas… Déjame construirte, ganarte esa batalla del “abitare”, yo te construyo y te pienso, me apropio de ti, vivo en ti, en tu espacio, en ese intersticio que te bordea, que te hace, te moldea, te configura, te figura.
La “Caja vacía” se impone, en su abstracción, su economía no tiene adversarios, su síntesis esta invicta. Ese espacio subdividido, fragmentado, “cuadrático”, cúbico, universal, reproducible, “aglo-merable”. Optimo, mínimo.
El fin supremo: ganar
territorio,
vencer al
débil.
Totalitarismo de las mayorías, nadie, ni nada, puede ganarle la batalla a esta fórmula cúbica…
Lugar,
hogar.
Mis “arquitecturas automáticas”, se piensan como modelos del “crear y destruir”, su génesis viene dominada tangencialmente por patrones, acciones en torno a la noción de “apropiación”. Hacerme con el espacio, el lugar, el objeto a través de un modelo predeterminado, pre-pensado. Una estructura ideológica, formal, que modela las acciones. Pensar en el vacío como contenido estructural, es ese filo entre el colapso y el equilibrio del contenido y el contenedor… Líneas que se entrecruzan, batallas de supremacías entre la horizontalidad y la verticalidad del espacio, del objeto, de sus derivas. Esa inminencia de la materia por transformarse en objeto, reagruparse y conciliar una nueva forma. Aglomerar espacios… imponiendo lo plural a lo singular, al individuo… Haciendo invisible lo indivisible. Aglomerar como defensa, no como sumatoria. Aglomerar para distraer, para sublimar, para borrar, eliminar, destruir.
Las líneas se dibujan solas, es un describir sin escribir. Como en el caracol, el espacio constructivo es una ideología interna, su límite emerge capa a capa desde la intimidad.
Construir-destruir. El colapsar no es un accidente impropio de la estructura, es una fase inevitable de la existencia misma. Colapso, implosión, deflación… Estrategias en las poéticas de lo terminal. Construir-deconstruir. Terapia modernista de una agonía retardada al infinito. Gestión de una derrota inacabada.
La materia, es cruda, cotidiana, al borde, cíclica, re-orientada, re-pensada, re-sentida, re-vivida… Cada piel sugiere su costura, su punto y cruz… en el re-usar, la esquina desaparece, se lima, se hace su propio camino, destierro. Coser y descoser… Hilar y des-hilar y ganar el espacio aéreo, el ensueño de “lo volador”, de lo sus-pendido, colgante, siempre inminente partida, perdida. Hilar sin llegar nunca a completar la tela… Telares sin instrucciones, demasiadas complejidades para las pre-funciones. Improvisación de la supervivencia, del error, del cotidiano, del hacer sin pensar, del ser sin estar, sin permanencia.
Hoy, el paraíso prometido… Parece más un infierno.
No veo, no hablo, no escucho, no siento…
No existo.
Solo
existo
para
el
“paraíso”
prometido.
Selected Biographical Information
Education / Training
- 1999-2000: MA in Fine Art, Chelsea College of Art and Design (The London Institute), London, UK.
- 1992-1994: Incomplete, Instituto Universitario de Estudios Superiores de Artes Plasticas Armando Reveron, Caracas, Venezuela.
- 1989-1995: Architect, Facultad de Arquitectura y Urbanismo – Universidad Central de Venezuela, Caracas, Venezuela.
- 2000-2001: “Research Program Dali.”, Chelsea College of Art And Design, London, UK.
Prizes / Fellowships
- 1999-2001: Credito Fundayacucho, Fundayacucho, Caracas, Venezuela.
- 1999-2001: “Distinction”, Chelsea College of Art and Design, London, UK.
Solo Exhibitions
- 2013: “IN BETWEEN OBJECT & EMPTINESS“, Galerie Ulrike Hrobsky, Vienna, Austria.
- 2012: “SUPER-BLOCK Space & others species“, Galeria Astarté, Madrid, Spain.
- 2012: “Super-block” One-project“, Art Madrid 2012 Art Fair – Astarté Gallery, Madrid, Spain.
- 2011: “Diario de viaje” Drawing, spaces and other pieces”, Kling Store, Madrid, Spain.
- 2010: “Empty objects, spaces and other pieces“, Galeria Astarté, Madrid, Spain.
- 1998: “Identidades Terminales” Models for the Libaration of Inanimate Objects”, Galeria Terraquea, Caracas, Venezuela.
- 1998: “Der Golem, Sketches and Models”, Museo de Arte Contemporaneo de Caracas, Caracas, Venezuela.
- 1996: “Maquinando Otra”, Escuela de Comunicación Visual PRODiseño, Caracas, Venezuela.
Group Exhibitions
- 2014: “Estampa Art Fair Madrid-Matadero“, Galeria Astarté – Centro Matadero de Madrid, Madrid, Spain.
- 2014: “Smell of Cerdanyola“, Museu d’Art de Cerdanyola, Cerdanyola, Barcelona, Spain.
- 2014: “Degrees of saparation“, Maddox Arts Gallery, London, UK.
- 2013: “Sluice Art Fair“, Square Art Projects, London, UK.
- 2013: “Casa-Decor Art Fair”, Galería Astarté, Madrid, Spain.
- 2012: “Willow Foundation Blank Canvas Project”, Maddox Art Gallery with Willow Foundation , London, UK.
- 2012: “Gego obra abierta: testimonios y vigencia”, Museo de Arte Contemporáneo de Caracas, Caracas, Venezuela.
- 2012: “Photo Opportunity“, Maddox Art Gallery, London, UK.
- 2012: “Paramito“, Group pop-up show by Square Studio, Caracas, Venezuela.
- 2011: “Art Lisboa” International Contemporary Art fair”, Galeria Astarté, Lisbon, Portugal.
- 2011: “INSIDE-OUT 6 Colecciones“, Galería Astarté, Madrid, Spain.
- 2011: “PINTA London Art Fair” International Contemporary Art fair”, Maddox Art Gallery, London, UK.
- 2010: “Art Lisboa” International Contemporary Art fair”, Galeria Astarté, Lisbon, Portugal.
- 2010: “Cuerpo Maquinico”, Museo de Arte Contemporaneo del Zulia, Marcaibo, Venezuela.
- 2010: “PAPEL(ES)“, Galería Astarté, Madrid, Spain.
- 2009: “The New truth of Leather”, Centro Tecnológico de la Piel, Fundación Movex, Sevilla, Spain.
- 2009: “Cuerpo Maquinico I”, Museo de Arte Acarigua Araure, Acarigua, Venezuela.
- 2009: “Viajando en Papel”, Cabinet Gallery , Madrid, Spain.
- 2005: “Der Golem”, Museum of Contemporary Art of Acarigua Araure, Acarigua, Venezuela.
- 2005: “Ingravitas”, Museo Jacobo Borges de Catia, Caracas, Venezuela.
- 2003: “II Exxon Mobil”, Galería de Arte Nacional, Caracas, Venezuela.
- 2002: “Happening Extreme 5”, Museo Alejandro Otero, Caracas, Venezuela.
- 2001: ““Cuando todo se ha visto y hecho” V Salón Pirelli de Jóvenes Artistas”, Museo de Arte Contemporáneo de Caracas, Caracas, Venezuela.
- 2001: ““Liberating Old York Road” DALI Reaserch Program final show”, Chelsea College of Art And Design, London, UK.
- 2000: ““ASSEMBLY SHOW” “, Royal College of Art, Goldsmiths College and ARTslag. Stepney City E1, London, UK.
- 2000: “Chelsea MA Fine Art Show”, Brighton Media Centre Gallery, Brighton, UK.
- 2000: “Chelsea Fine Art 2000”, Chelsea College of Art and Design, London, UK.
- 2000: “ARK 2000 an Experiment Work”, Cafe Gallery Project, London, UK.
- 1999: “New Blood Young Venezuelan Art”, Bruce castle Museum, London, UK.
Publications
- Jason Potts, Daniel Stout, Theory Aside (North Carolina: Duke University Press Books), 328 pages.
- Rafael Reveron-Pojan, “super block space and other species“, DesignBoom, 22 oct 2012, 1.
Collections
- Olor Visual, Barcelona, Spain.
- ThyssenKrupp Madrid, Madrid, Spain.
Links
January 21, 2015 Kenji Nakama https://abstractioninaction.com/artists/kenji-nakama/- Kenji Nakama, “Planestática”, 2006, Series: Serie de 4 fotos, Still shot of TV monitor, 40 x 50 cm.
- Kenji Nakama, “Nueva Naturaleza”, 2007, Series: Serie de 6 fotos, Still shot of TV monitor, 40 x 50 cm.
- Kenji Nakama, “Monet”, 2006, Series: Nueva Naturaleza, Oil on MDF, 10.8 x 48 x .5 cm.
- Kenji Nakama, “03”, 2009, Series: Pangea, Oil on canvas, 180 x 300 cm.
- Kenji Nakama, “Montaña”, 2010, Collage with TV guides, 130 x 150 cm.
- Kenji Nakama, “Corte transversal del fragmento de una montaña”, 2010, Collage with TV guides, 130 x 150 cm.
- Kenji Nakama, “Sin título”, 2011, Series: Mutación y Desborde, Collage with bond paper, 103 x 73 x 20 cm.
- Kenji Nakama, “Sin título”, 2011, Series: Mutación y Desborde, Collage with newspapers, 80 x 80 x 73 cm.
- Kenji Nakama, “Sin título”, 2011, Series: Mutación y Desborde, Collage with magazines, 25 x 33 cm.
- Kenji Nakama, “Sin título”, 2011, Series: Mutación y Desborde, Collage with magazines and wood bookcase, 200 x 150 x 90 cm.
- Kenji Nakama, “Sin título”, 2011, Series: Mutación y Desborde, Collage with magazines, books, encyclopedias, etc, Variable dimensions.
- Kenji Nakama, “Jardín”, 2011, Series: Jardín, Collage with bond paper, Variable dimensions.
- Kenji Nakama, “25 perspectivas del mundo”, 2012, Series: 25 perspectivas, Collage with 25 geopolitical maps cut in squares and glued into one, 41 x 69 cm.
- Kenji Nakama, “Estudio N4”, 2013, Series: Estudios del Pliegue, Collage with bond paper, 130 x 100 cm.
- Kenji Nakama, “Estudio N9”, 2013, Series: Estudios del Pliegue, Collage with bond paper, 130 x 100 cm.
Selected Biographical Information
Education
- 1999-2006: Bachiller, Facultad de Artes – PUCP, Lima, Perú.
Prizes / Fellowships
- 2011-2012: Residencia , Cité Internationale des Arts , Paris, Francia.
- 2010: XIII Concurso de artes visuales ‘Pasaporte Para un Artista’ (primer puesto), Embajada de Francia en el Perú, Lima, Perú.
- 2011: III Concurso de Pintura del BCR, Banco Central de la Reserva del Perú, Lima , Perú.
- 2007: II Concurso de Artistas Jóvenes de Lima Metropolitana, Municipalidad de Lima, Lima, Perú.
- 2006: Premio de la Crítica a la especialidad de pintura, Facultad de Arte-PUCP, Lima, Perú.
- 2006: Premio Winternitz para sexto año de pIntura, Facultad de Arte-PUCP, Lima, Perú.
Solo Exhibitions
- 2013: “Estudios del Pliegue“, Galería Lucía de la Puente, Lima, Perú.
- 2011: “Jardín“, Galería L’Imaginaire – Alianza Francesa de Miraflores, Lima, Perú.
- 2011: “Mutación y Desborde“, Galería Lucia de la Puente, Lima, Perú.
- 2009: “Pangea“, Galería Lucia de la Puente, Lima, Perú.
Group Exhibitions
- 2013: “Primera Década-Arte joven en Lima a inicios del nuevo siglo”, ICPNA de Miraflores, Lima , Perú.
- 2012: “Terra Incognita”, Centro Cultural de España, Lima, Perú.
- 2012: “Realidad Suprimida”, Centro Cultural Ricardo Palma, Lima , Perú.
- 2007: “La prolongación del espacio”, Galería 80m2, Lima, Perú.
Over the last years I’ve been developing a series of sculptural works that seek to investigate the layers that constitute and construct things and places. Relating directly to the physicality of the space as a point of departure. Using found objects and places that accumulate layers of information, containing what is particular from a place. The superficial skin becomes a profound path to explore and discover in each step the intersection of different experiences of time. (The historic time, material time, the time of everyday, and perhaps a more existential/psychological time that has to do with the duration of the experience.) The gesture is sculptural but without making sculpted objects; using destruction as a way of construction, allowing an engagement to a particular place and all the confluences and dimensions within. My work is site-responsive; it takes in consideration the architecture and the context of the surroundings, generating a layered outcome.
Traducido del inglés
A lo largo del tiempo he desarrollado una serie de trabajos escultóricos que buscan investigar las capas que constituyen y construyen las cosas y los lugares. Están relacionados directamente con la cualidad física del espacio como punto de partida. Usando objetos encontrados y lugares que acumulan capas de información, conteniendo las particularidades de cada lugar. La piel superficial se vuelve en un camino profundo para explorar y descubrir a cada paso el cruce de diferentes experiencias del tiempo (del tiempo histórico, tiempo material, tiempo cotidiano y quizá un tiempo más existencial y psicológico que está relacionado con la duración de la experiencia.) El gesto es escultórico pero sin realizar objetos; usando destrucción como una forma de construcción, permitiendo una interacción con un sitio particular y todas las confluencias y dimensiones del mismo. Mi obra responde al lugar y toma en consideración la arquitectura y el contexto de sus alrededores, generando un resultado con muchos niveles.
Selected Biographical Information
Education / Training
- 2001-2004: MFA, University of California, Los Angeles (UCLA), Los Angeles, United States.
- 1995-1999: BFA, Los Andes University, Bogotá, Colombia.
Prizes / Fellowships
- 2012: Premio 2ºBienal de Artes Plásticas y Visuales, Fundación Gilberto Alzate Avendaño, Bogotá, Colombia.
- 2012: LARA (Latin American Roaming Art), Asiaciti Trust, Bogotá, Colombia.
- 2010: Workshop with Mona Hatoum, Fundación Marcelo Botin, Santander, Spain.
- 2008: Gran Premio MOLAA Awards, Museum of Latin American Art, Long Beach, USA.
Solo Exhibitions
- 2014: “el tiempo lo aguanta todo“, Casas Riegner Gallery, Bogotá, Colombia.
- 2014: “Invited project“, Museo de Arte Moderno La Tertulia, Cali, Colombia.
- 2011: “lo deshecho“, Casas Riegner Gallery, Bogotá, Colombia.
- 2006: “Traces of displaced recollection“, d.e.n. Contemporary Art, Los Angeles, USA.
Group Exhibitions
- 2013: “Artesur, Collective Fictions“, Palais de Tokyo, Paris, France.
- 2013: “Salón Nacional de Artistas“, Medellín, Colombia.
- 2013: “LARA 2012 (Latin American Roaming Art)“, NC-Arte, Bogotá, Colombia.
- 2012: “Tracing Time“, Josee Bienvenu Gallery, New York, USA.
Collections
- West Collection, Philadelphia, USA.
- Museum of Latin American Art, Long Beach, USA.
- F.G.A.A., Bogotá, Colombia.
- Leyla Cárdenas, “extract for permutation”, 2014, Hand-cut giclée prints on paper, 1.30 x 1.06 x 6 cm.
- Leyla Cárdenas, “Dintel”, 2014, Giclée paper print mounted on plaster and rusted metal structure, 540 x 40 x 1 cm.
- Leyla Cárdenas, “Permutation (study#1)”, 2014, Giclée paper print mounted on demolition waste, Variable dimensions.
- Leyla Cárdenas, “Permutation (study#1)-detail”, 2014, Giclée paper print mounted on demolition waste, Variable dimensions.
- Leyla Cárdenas, “Permutation (study#1)-detail”, 2014, Giclée paper print mounted on demolition waste, Variable dimensions.
- Leyla Cárdenas, “Excision”, 2012, Peeled paint, recovered wallpaper, cement, plaster, wire, wood, Variable dimensions. West Collection. Photo credit: Sebastiano Pellion.
- Leyla Cárdenas, “sketch for a retaining wall “, 2011, Metal rods, cement paper, Variable dimensions. Site-specific project. Location: Galería Casas Riegner, Bogotá, Colombia.
- Leyla Cárdenas, “Anteponer”, 2012, Sanded wood veneer, Variable dimensions. Site-specific project. Location: Fundación Gilberto Alzate Avendaño, Bogotá, Colombia. FGAA.
My process of working is always about the development of one idea that starts first from little annotations, observations, and drawings, and then sometimes suggests a series, a sequence of a thought, using the same elements in different ways—sometimes concerned with the use of color or just in black and white, showing the strength and balance of the forms. I always need to be connected to music… because music is one of the most important things to me. In order to develop ideas, to think about colors, and even to define the compositions; music is essential all the time, as I work or think about new possibilities.
The artist is thinking all the time… trying to solve problems. First, it’s a mental process, I need to solve or to look for the better way to solve it before I start working, using different supports such as paper, hardboard, wood, or metal.
Traducido del inglés
Mi proceso de trabajo siempre consiste en el desarrollo de una idea que comienza primero desde pequeñas anotaciones, observaciones y dibujos y luego sugiere una serie, una secuencia de pensamiento, usando los mismos elementos de maneras diferentes, algunas veces preocupado por el uso de color o sólo en blanco y negro, mostrando la fuerza y el balance de las formas. Siempre tengo que estar conectado con la música… porque la música es una de las cosas más importantes para mí. Para poder desarrollar ideas, pensar en colores y hasta para definir composiciones, la música es esencial todo el tiempo, mientras que pienso o trabajo en nuevas posibilidades.
El artista está pensando todo el tiempo… tratando de solucionar problemas. Primero es un proceso mental; necesito solucionar o buscar la mejor manera de solucionar antes de comenzar a trabajar, utilizando diferentes soportes como el papel, aglomerado, madera, o metal.
Selected Biographical Information
Education / Training
- Self-taught
Solo Exhibitions
- 2012: Arevalo Gallery, Miami, USA.
- 2011: Galerie Denise René, Paris, France.
- 2010: Jorge Mara La Ruche, Buenos Aires, Argentina.
- 2010: Dan Galerie, Sao Paulo, SP, Brazil.
- 2009: Galerie Cayon, Madrid, Spain.
- 2007: Dan Galerie, Sao Paulo, Brazil.
- 2004: “Dessins et objets”, Galerie Arte em Dobro, Rio de Janeiro, RJ, Brazil.
- 2004: “Culture et peinture”, Dan Galerie, Sao Paulo, SP, Brazil.
- 2000: Dan Galerie, Sao Paulo, SP, Brazil.
- 1994: Pinacothèque de l’état de Sao Paulo, Sao Paulo, SP, Brazil.
Group Exhibitions
- 2011: Jorge Mara La Ruche, Buenos Aires, Argentina.
- 2010: “Foire de Bâle”, Galerie Denise René, Paris, France.
- 2010: Jorge Mara La Ruche, Buenos Aires, Argentina.
- 2009: “Matière grise”, Galerie Cayon, Madrid, Spain.
- 2009: “Dessins et sculptures”, Galerie A34 Barcelone, Spain.
- 2008: ARCO, Dan Galerie, Madrid, Spain.
- 2007: ARCO, Dan Galerie, Madrid, Spain.
- 2006: “Contrastes, collection du MASP”, Sao Paulo, SP, Brazil.
- 2006: “Le goût d’un collectionneur, collection de la fondation Nemirovsky”, Estaçao, Pinacothèque, Sao Paulo, SP, Brazil.
- 2005: “Anthologie de la collection MAM”, Sao Paulo, SP, Brazil.
- 2005: “L’art dans la ville”, musée Oscar Niemeyer, Curitiba, PR, Brazil.
- 2005: “Metropolis”, Institut Tomie Ohtake, Sao paulo, SP, Brazil.
- 2004: “Brésilien, brésiliens”, musée Afrobrésil, Sao Paulo, SP, Brazil.
- 2004: “Collection du MAC”, Sao Paulo, Brazil.
- 2004: “Quelques aspects de l’abstraction”, MASP, Sao Paulo, SP, Brazil.
- 2003: “Le Brésil des années 20 à 90”, MAC, Sao Paulo, SP, Brazil.
- 2003: “Artistes brésiliens”, Espace Virgilio, Sao Paulo, SP, Brazil.
- Macaparana, “Sin titulo”, 2013, Series: Homenaje a Hércules Barsotti, Pigments and acrylic on plaque, 138 x 136 cm. Photo credit: Jorge Mara – La Ruche.
- Macaparana, “Sin título”, 2013, Series: Deslocamientos, Acrylic and collange on cardboard, 55 x 170 cm. Photo credit: Jorge Mara – La Ruche.
- Macaparana, “Sin titulo”, 2012, Acrylic and pigments on panel, 45 cm diameter. Photo credit: Jorge Mara – La Ruche.
- Macaparana, “Sin titulo”, 2012, Acrylic and pigments on canvas glued to panel, 45 x 45 cm. Photo credit: Jorge Mara – La Ruche.
- Macaparana, “Sin titulo”, 2012, Acrylic and pigments on canvas glued to panel, 45 x 45 cm. Photo credit: Jorge Mara – La Ruche.
- Macaparana, “Sin titulo”, 2013, Ink and collage on cardboard, 120 x 80 cm. Photo credit: Jorge Mara – La Ruche.
- Macaparana, “Sin titulo”, 2013, Ink and collage on cardboard, 120 x 80 cm. Photo credit: Jorge Mara – La Ruche.
- Macaparana, “Sin titulo”, 2013, Series: Homenaje a Hércules Barsotti, Acrylic and pigments on plaque, 138 x 138 cm. Photo credit: Jorge Mara – La Ruche.
- Macaparana, “Sin titulo”, 2013, Series: Serie 8 aros, Mixed media on wood, 98 cm diameter. Photo credit: Jorge Mara – La Ruche.
- Macaparana, “Sin titulo”, 2013, Ink and collage on cardboard, 120 x 80 cm. Photo credit: Jorge Mara – La Ruche.
- Macaparana, “Sin titulo”, 2010, Mixed media on wood, 40 x 30 cm. Photo credit: Jorge Mara – La Ruche.
- Macaparana, “Sin titulo”, 2011, Mixed media on cardboard, 83 x 121 cm. Photo credit: Jorge Mara – La Ruche.
- Macaparana, “Proyecto para relieve”, 2011, Cardboard and foamboard, 71 x 66 x 6 cm. Photo credit: Jorge Mara – La Ruche.
- Macaparana, “Sin titulo”, 2011, Mixed media on hardboard, 65 x 50 x 43 cm. Photo credit: Jorge Mara – La Ruche.
- Macaparana, “Sin titulo”, 2011, Mixed media on cardboard, 80 x 60 cm. Photo credit: Jorge Mara – La Ruche.
February 19, 2014 KIRIN https://abstractioninaction.com/artists/kirin/
Selected Biographical Information
Solo Exhibitions
- 2011: “Kirin”, Galería Jorge Mara – La Ruche, Buenos Aires, Argentina.
- 2007: “Uroboro”, Daniel Maman Fine Arts, Buenos Aires, Argentina.
- 2004: “Negro de Marfil”, Galería Jorge Mara – Galería van Riel, Buenos Aires, Argentina.
- 1999: “Naipes y Cartas”, Galería Sur, Punta del Este, Uruguay.
- 1996: “Arquitecturas y Lenguajes del Silencio”, Galería Sur, Punta del Este, Uruguay.
- 1995: Galería van Riel, Buenos Aires, Argentina.
Group Exhibitions
- 2013: “Blanco de Silencio”, Galería Jorge Mara, Buenos Aires, Argentina.
- 2010: “Collage”, Galería Jorge Mara, Buenos Aires, Argentina.
- 2004: “Homenaje a Galería van Riel”, Centro Cultural Recoleta, Buenos Aires, Argentina.
- 2002: “Pequeño Formato”, Galería Jorge Mara, Buenos Aires, Argentina.
- 1992: “Surrealismo Nuevo Mundo”, Biblioteca Nacional, Buenos Aires, Argentina.
Publications
- 2011: Kirin, Ediciones Galería Jorge Mara.
- 2007: Kirin, Ediciones Daniel Maman Fine Arts.
- 2004: Kirin, Ediciones Galería Jorge Mara – Galería van Riel.
- 1999: Los Ángeles son las moscas del Paraíso. Kirin. Ediciones Galería Sur, (Collages y textos de Kirin).
- 1999: Arcanos Mayores. Kirin. Ediciones Galería Sur, (Selección de textos e introducción de Alejandro Puga y 22 collages de Kirin).
- 1991: Razón Poética, Vicente Z. Lema y Kirin. Ediciones Fin de Siglo, (Textos de V. Z. Lema y 50 collages de Kirin).
- 1986: El Diamante de la Noche cae entre las Plantas, Kirin. Ediciones de la Alondra, (Selección de textos de Juan Carlos Otaño y 23 collages de Kirin).
- KIRIN, “Sin Título”, 2010, Oil and graphite on paper, 76 x 56 cm. Photo credit: Jorge Mara – La Ruche.
- KIRIN, “Sin Título”, 2011, Oil and graphite on paper, 155 x 105 cm. Photo credit: Jorge Mara – La Ruche.
- KIRIN, “COLLAGE”, 2011, Mixed media on paper, 155 x 105 cm. Photo credit: Jorge Mara – La Ruche.
- KIRIN, “Mandragora femenina”, 2011, Oil, collage and graphite on canvas, 190 x 145 cm. Photo credit: Jorge Mara – La Ruche.
- KIRIN, “Sin Título”, 2011, Oil and graphite on paper, 76 x 56 cm. Photo credit: Jorge Mara – La Ruche.
- KIRIN, “Cielo Circular”, 2004, Oil on canvas, 110 x 100 cm. Photo credit: Jorge Mara – La Ruche.
- KIRIN, “Huellas Negras”, 2004, Oil on paper, 56 x 76 cm. Photo credit: Jorge Mara – La Ruche.
- KIRIN, “Eterno indiferente II”, 2004, Oil on paper, 76 x 56 cm. Photo credit: Jorge Mara – La Ruche.
- KIRIN, “Cuatro lados”, 2004, Oil on paper, 38 x 38 cm. Photo credit: Jorge Mara – La Ruche.
- KIRIN, “Cartografías II”, 2004, Oil on paper, 38 x 38 cm. Photo credit: Jorge Mara – La Ruche.
- KIRIN, “Sin Título”, 2013, Oil and graphite on paper, 70 x 50 cm. Photo credit: Jorge Mara – La Ruche.
- KIRIN, “Sin Título”, 2013, Oil and graphite on paper, 50 x 35 cm. Photo credit: Jorge Mara – La Ruche.
- KIRIN, “Sin Título”, 2013, Oil and graphite on paper, 100 x 70 cm. Photo credit: Jorge Mara – La Ruche.
- KIRIN, “Sin Título”, 2013, Oil and graphite on paper, 100 x 70 cm. Photo credit: Jorge Mara – La Ruche.
- KIRIN, “Sin Título”, 2013, Oil and graphite on paper, 70 x 50 cm. Photo credit: Jorge Mara – La Ruche.
Translated from Spanish
I am interested in combining and juxtaposing different historical referents that derive from diverse places and times, and which coexist in an object.
My work is related to drawing, sculpture, and painting rom their more basic properties, such as material and form, but the materials I use are mostly objects from other activities. I use recognizable icons stemming from modern art history, in the creation of a work that goes through deconstruction and the relationship of objects and ideas that question the link between abstraction, history, and contemporaneity.
Estoy interesado en mezclar y superponer diferentes referentes históricos que provienen de lugares y épocas distintas que cohabitan en un objeto.
Mi trabajo es relativo al dibujo, la escultura y la pintura desde sus propiedades más elementales como el material y la forma, pero los materiales que utilizo son en gran parte objetos de otras actividades. Utilizo iconos reconocibles provenientes de la historia del arte moderno para la concepción de una obra que pasa por la deconstrucción y la puesta en relación de objetos e ideas que cuestionan la relación entre abstracción, historia y contemporaneidad.
Selected Biographical Information
Education / Training
- 2001-2006: DNSEP (Diplome national superieur d’expression plastique option art), Ecole Nationale Superieure d’arts de Paris, Cergy, Paris, France.
Prizes / Fellowships
- 2009-2010: Le Pavillon (residence), Palais de Tokyo, Paris, France.
- 2010: CIFO Grants, Cisneros Fontanals Art Foundation, Miami , USA.
- 2013: FAAP (residence), Fundação Armando Alvares Penteado , Sao Paulo, Brazil.
Solo Exhibitions
- 2006: “Side B quasi quieto”, Galerie La Vitrine, Paris, France.
- 2008: “Over and Over”, Galerie Crevecoeur, Paris, France .
- 2010: “The Truth of the Trou”, Galerie Crevecoeur, Paris, France.
- 2011: “Inevitable y Obvio”, Periferico Caracas (art center), Caracas, Venezuela.
- 2012: “Imagenes Souvenirs”, Galeria Ignacio Liprandi, Buenos Aires, Argentina.
Group Exhibitions
- 2013: “L’origine des choses, Collection du centre national des arts plastiques (France), curated by Sebastien Faucon“, La Centrale for Contemporary Art , Brussels, Belgium.
- 2012: “Sphe;res “, Galleria Continua, Le Moulin, Paris, France.
- 2012: “ÇA & LÀ / This & there “, Fondation d’entreprise Ricard, Paris, France.
- 2012: “In Other Words / Blackmarket of Translation – Negotiating Contemporary Cultures”, NGBK and Kunstraum Kreuzberg, Berlin, Germany.
- 2012: “Texto de sala”, Galerie Crevecoeur, Paris, France.
- 2011: “Untitled (Passport) – 12th Istanbul Biennial”, Istanbul Biennial, Istambul, Turkey.
- 2010: “Dynasty “, Palais de Tokyo / Musee d’Art Modernede la ville de Paris, Paris, France.
Publications
- Gabriel Pérez-Barreiro, Steve Roden, Reinaldo Laddaga, Jorge Pedro Nuñez, Andrea Giunta, Txomin Badiola, Olga Fernandez López, Héctor Fuenmayor, Luis Camnitzer, Jesús Carrillo, Sofía Hernandez Chong Cuy, Ana Longon, Concrete Invention – Reflections on Geometric Abstraction from Latin America and Its Legacy Coleccion Patricia Phelps de Cisneros (Madrid : Turner), 195.
Collections
- Fonds National d’Art Contemporain (FNAC), Paris, France.
- Cisneros Fontanals Foundation (CIFO), Miami, USA.
- Fonds Regional d’Art Contemporain (FRAC), Bourgogne, France.
- Fundacion ARCO, Madrid, Spain.
- Lab’Bel, Paris, France.
- Tiroche DeLeon Collection, London, UK.
- Jorge Pedro Núñez, “Untitled ( tres cuerpos negros )”, 2014, Plywood and metal , 49 x 110 x 38 cm.
- Jorge Pedro Núñez, “Untitled ( smoked walls ) “, 2014, Plexiglass, mixed medias (found piece of wall in th streets of Paris, contains cement, plaster, concrete), 30 x 80 x 80 cm.
- Jorge Pedro Núñez, “Untitled ( smoked walls ) “, 2013, Plexiglass, mixed medias (found piece of wall in th streets of Paris, contains cement, plaster, concrete), 60 x 90 x 30 cm.
- Jorge Pedro Núñez, “Untitled ( smoked walls ) “, 2013, Plexiglass, mixed medias (found piece of wall in th streets of Paris, contains cement, plaster, concrete), 60 x 90 x 60 cm. Tiroche DeLeon Collection (London).
- Jorge Pedro Núñez, “MADAME DEVAUÇAY – SERGIO LEONE”, 2012, Book and lamp, 32 x 198 x 24 cm.
- Jorge Pedro Núñez, “Chambre avec vue “, 2012, Stainless steel stems, plasterboard, 60 x 120 x 60 cm.
- Jorge Pedro Núñez, “Nature morte withmonuments”, 2010, Vinyl Records, aluminium, wood, Variable dimensions. CIFO.
- Jorge Pedro Núñez, “Desde lejos los ranchos aparecen como una composición multicolor o todo lo que Jésus me dio “, 2011, Parts of the work Cromosaturacion of Carlos Cruz-Diez. Pliths and objects, Variable dimensions.
- Jorge Pedro Núñez, “Practica constructiva”, 2011, books and metal, 20 x 120 x 90 cm.
- Jorge Pedro Núñez, “Electric Tatlin”, 2011, Books, metal, security system, cables., 290 x 250 x 45 cm.
- Jorge Pedro Núñez, “Untitled ( cinco cuerpos negros )”, 2014, Plywood and metal , 49 x 200 x 33 cm.
- Jorge Pedro Núñez, “Todo lo que MAM me dio “, 2010, Mixed media (plinths, show windows, various objects), 450 x 190 x 250 cm.
Translated from Spanish
From a very young age, I’ve been attracted by abandoned construction sites, vacant lots, useless things, and the tracks or traces that persist without intention. In these places I have discovered and collected all kinds of things, without a specific purpose in mind. It is until this moment in which I develop this statement that I can trace the origin of my work as artist in these explorations and discoveries of my first years of life.
My first formal experience working with residues was as a worker at a recycling plant, in which I was in charge of handling toxic industrial residues. This activity originated my series Las sobras (the leftovers). This series is comprised by materials and elements taken from waste—meaning that they pass through a double process of selection because I recover them from all that is rejected by factories and then by the recyclers.
Until today, I find the process of looking in industrial waste containers or recyclers, strongly linked to archaic human practices, such as those of the first nomads that learned to recognize and collect fruit, plants, insects, and materials for their survival, in the different territories they walked and lived in.
The work of the scavengers is completely underestimated against the patterns of production, consumption and massive waste of contemporary capitalist societies, even though it is more necessary than ever.
I am amazed by the quantity and I am attracted by the vast variety of materials that I hazardously find in waste containers. The diversity, qualities, and malleability of these materials is what trigger ideas and forms, and which determine what types of supports, media, and compositions I must use. To me, waste is not garbage but an opportunity to explore artistically, finding the most adequate uses and functions within the unusual forms and characteristics that I find. This practice allows me to meditate about existence, life’s origin, and the micro and macro.
The processes that are related with the homogenization of certain forms of life and consumption, which we call civilization, and from which the world is built from molds that are more generic every time, are in fact derived from entropy, and they leave several traces and cosmic tails that I find fascinating. The DNA of things captivates me and keeps me alert, waiting for the next surprise, the next great archeological discovery.
Desde pequeño me han fascinado las construcciones abandonadas, los terrenos baldíos, las cosas inservibles, las huellas o rastros que persisten sin que nadie se lo hubiera propuesto. En estos lugares he descubierto y recolectado todo tipo de cosas sin un objetivo específico en mente. Es hasta ahora que desarrollo esta declaración que puedo trazar el origen de mi trabajo como artista en estas exploraciones y descubrimientos de los primeros años de mi vida.
Mi primera experiencia formal trabajando con residuos fue como empleado en una planta recicladora, como encargado de manejo de residuos industriales tóxicos. Fue esta actividad la que dio origen a mi serie Las sobras. Esta serie se compone de materiales y elementos tomados de entre los desperdicios —es decir pasan por un doble proceso de selección, pues los recupero de entre aquello rechazado primero por las maquiladoras y después por las recicladoras.
Hasta la fecha, encuentro el proceso de buscar en los contenedores de basura industrial o recicladoras fuertemente conectado con prácticas humanas arcaicas: como los primeros nómadas que aprendían a reconocer y recolectar frutos, hierbas, insectos y materiales, para su subsistencia, en los distintos territorios que recorrían y habitaban.
La labor de los pepenadores está completamente subestimada en nuestros días frente a los patrones de producción, consumo y desecho masivo de las sociedades capitalistas contemporáneas, a pesar de ser más necesaria que nunca.
Me asombra la cantidad y me atrae la amplia variedad de materiales que azarosamente voy encontrando en los contenedores de basura. La diversidad, cualidades y maleabilidad de los mismos materiales son los que me disparan ideas y formas, y los que determinan qué clase de soportes, medios y composiciones debo utilizar. Para mí los residuos no son desperdicios sino una oportunidad de explorar plásticamente, encontrando el uso y función más adecuados entre las inusitadas formas y características que descubro. Esta práctica me permite meditar sobre la existencia, el origen mismo de la vida, lo micro y lo macro.
Los procesos que llamamos civilización, relacionados con la homogenización de ciertas formas de vida y consumo, donde el mundo se construye bajo moldes cada vez más genéricos deriva, en cambio, en la entropía y dejan una diversidad de rastros, huellas y estelas que me resultan fascinantes. El ADN de las cosas, eso es lo que me cautiva y me mantiene atento, dispuesto a la próxima sorpresa, al siguiente gran hallazgo arqueológico.
Selected Biographical Information
Education / Training
- 2012-2013: Culinary art school, Tijuana B.C., Mexico.
Prizes / Fellowships
- 2014-2016: sistema nacional de creadores 2014-16, FONCA/CONACULTA, Tijuana, Mexico.
- 2012: programa de residencia (Fonca) en Beijing, FONCA/Universidad Tsinghua, Beijing, China.
- 2010-2012: Programa Bancomer-MACG Arte actual, Museo de Arte Carrillo Gil/Bancomer, Mexico , D.F.
- 2008-2009,2005-2006, 2002-2003: Becario del fondo Nacional para la Cultura y las Artes, Fondo Nacional para la cultura y las Artes, D.F., Mexico.
- 2007: Primer lugar en la XVI Bienal de Baja California, categoría Gráfica, Instituto e Cultura de Baja California, Mexicali B.C., Mexico.
- 2005: Start Up Award, del Museum of Contemporary Art San Diego, CA (adquisición de obra y una exposición individual en el museo), Museo de Arte Contemporaneo de San Diego, San Diego, CA., U.S.
Solo Exhibitions
- 2011: “Registros de Labor, agosto”, la caja galeria, Tijuana, B.C., Mexico.
- 2010: “Registros de Labor”, Galeria Arroniz, Ciudad de Mexico, Mexico.
- 2010: “Cumulo”, Museo Universitario de Arte Contemporaneo MuAC, Ciudad de Mexico, Mexico.
- 2008: “Trade-Marks”, Centro Cultural Tijuana CECUT, Tijuana, Mexico.
- 2007: “Sobras Recientes”, Galeria La Caja Negra, Madrid, Spain.
- 2005: “Jaime Ruiz Otis/CERCA Series”, Museo de Arte Contemporaneo de San Diego, MCASD, San Diego CA, U.S.
Group Exhibitions
- 2013: “La estampa de nuestro tiempo”, Museo de Arte Abstracto Manuel Felguerez, Zacatecas, Mexico.
- 2013: “X Bienal Monterrey FEMSA”, Antiguo Colegio de San Ildefonso-UNAM, Ciudad de Mexico, Mexico.
- 2013: “Formas y Pasajes. Escultura contemporánea”, Centro de las Artes, CONARTE, Monterrey, Mexico.
- 2013: “El Insesante Ciclo entre Idea y Acción, Programa Bancomer-MACG. Arte Actual”, Museo de Arte Carrillo Gil, Ciudad de Mexico, Mexico.
- 2012: “The Very Large Array: San Diego/Tijuana Artists in the MCA Collection”, Museo de Arte Contemporaneo de San Diego, San Diego CA, U.S.
- 2012: “El Panal/The Hive, Trienal Poligráfica de San Juan“, San Juan, Puerto Rico.
- 2011: “Des-hielo, solo-project Feria ChACO”, Feria ChACO, Santiago, Chile.
- 2011: “Mexico: Poetics and Politics”, San Francisco State University, San Francisco, U.S.
- 2010: “Descartes”, The Collaborative-MOLAA, Long Beach, U.S.
- 2010: “Moscow Biennale for Young Art“, Moscu, Rusia.
- 2009: “10 Años del FONCA”, Biblioteca Vasconcelos, Ciudad de Mexico, Mexico.
- 2009: ” X Bienal de Cuenca“, Cuenca, Ecuador.
- 2009: “PavillioM, Arte Contemporáneo Mexicano”, 53th Venice Biennale, Venezzia, Italy.
- 2007: ” IM/Polis Transitio/MX”, Laboratorio Arte Alameda, Ciduad de Mexico, Mexico.
- 2006: “Strange New World”, MCASD, Museo de Arte Contemporaneo de San Diego, San Diego, CA, U.S.
Collections
- Colección FEMSA, Monterrey N.L., Mexico.
- Colección del Museo Universitario Arte Contemporáneo, MuAC., Ciudad de Mexico, Mexico.
- Colección del Museum of Contemporary Art San Diego, San Diego, CA, U.S.
- Colección Elías-Fontes., Mexicali B.C., Mexico.
- Private art collections in México, San Diego, Los Ángeles, San Francisco, Nueva York, Spain and Denmark.
Links
- Jaime Ruiz Otis, “Estela del Paisaje Negro”, 201?, Series: Estelas, procesos recuperados, Found cotton fabric, 165 x 150 cm.
- jaime Ruiz Otis, “Estela de horizonte Palido”, 1999-201?, Series: Estelas, procesos recuperados, Found cotton fabric, 170 x 150 cm.
- Jaime Ruiz Otis, “Estela Chillante”, 1999-201?, Series: Estelas, procesos recuperados, Found cotton fabric, 265 x 150 cm.
- Jaime Ruiz Otis, “Estela Arenosa”, 1999 , Series: Estelas, procesos recuperados, Found cotton fabric, 165 x 150 cm. coleccion Elias-Fontes.
- Jaime Ruiz Otis, “Estela Arenosa”, 1999-201?, Series: Estelas, procesos recuperados, Found cotton fabric, 265 x 150 cm.
- Jaime Ruiz Otis, “Estela del Can”, 2005-201?, Series: Estelas, procesos recuperados, Found cotton fabric, 250 x 140 cm.
- Jaime Ruiz Otis, “Crack”, 2013, Series: Calcomaticos, Found stickers on sheet, 45 x 65 cm.
- Jaime Ruiz Otis, “Bifurcacion”, 2014, Series: Calcomaticos, Found stickers on sheet, 65 x 180 cm.
- Jaime Ruiz Otis, “Cumulo”, 2013, Series: Calcomaticos, Found stickers on sheet, 65 x 135 cm.
- Jaime Ruiz Otis, “Transmisor”, 2014, Series: Calcomaticos, Found stickers on sheet, 122 x 195 cm.
- Jaime Ruiz Otis, “Avoid direct exposure to beam”, 2014, Series: calcomaticos, Found stickers on sheet, 71 x 81 cm.
- Jaime Ruiz Otis, “Desfase A”, 2014, Series: Calcomaticos, Found stickers on sheet, 54 x 123 cm.
- Jaime Ruiz Otis, “Desfase C”, 2013, Series: calcomaticos, Found stickers on sheet, 80 x 126 cm. coleccion Femsa.
- Jaime Ruiz Otis, “Desfase B”, 2014, Series: Calcomaticos, Found stickers on acrylic, 123 x 181 cm.
- Jaime Ruiz Otis, “Caos-Orden-Caos”, 2013, Series: calcomaticos, Found stickers on sheet, 89 x 98 cm.
“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
- Gabriel Acevedo Velarde, “Museum of Natural State. Award (2)”, 2013, Series: Museum of Natural State, Polystyrene rigid foam, inkjet print, 19,5 cm x 24,4 cm x 10,5 cm.
- Gabriel Acevedo Velarde, “Museum of Natural State. Infiltrated Ministry of Education (2)”, 2013, Series: Museum of Natural State, Polystyrene rigid foam, inkjet print, 27 cm x 34,2 cm x 3 cm.
- Gabriel Acevedo Velarde, “Museum of Natural State. Ghost building (1)”, 2013, Series: Museum of Natural State, Paper, polystyrene rigid foam, 43 cm x 32,5 cm x 6,5 cm.
- Gabriel Acevedo Velarde, “Museum of Natural State. Infiltrated Ministry of Education (3)”, 2013, Series: Museum of Natural State, Polystyrene rigid foam, paper, 25,6 cm x 32,3 cm x 3 cm.
- Gabriel Acevedo Velarde, “Museum of Natural State. Infiltrated Ministry of Economy (1)”, 2013, Series: Museum of Natural State, Polystyrene rigid foam, inkjet print, 21 cm x 28 cm x 5,2 cm.
- Gabriel Acevedo Velarde, “Museum of Natural State. Infiltrated Ministry of Economy (2)”, 2013, Series: Museum of Natural State, Polystyrene rigid foam, paper, 19 cm x 28 cm x 3 cm.
- Gabriel Acevedo Velarde, “Museum of Natural State. Poster for mother that dances and hooks up, 1985 (3)”, 2013, Series: Museum of Natural State, Collage on paper, 57,6 cm x 41,6 cm.
- Gabriel Acevedo Velarde, “Museum of Natural State. Chromostereopsis party poster (6)”, 2013, Series: Museum of Natural State, Collage, 32 cm x 47.8 cm x 0.25 cm
- Gabriel Acevedo Velarde, “Art piece No.15”, 2013, Cardboard, paper, acrylic, MDF, Variable dimensions.
- Gabriel Acevedo Velarde, “Art piece No.16”, 2013, Cardboard, paper, acrylic, aluminum, MDF, 48.5 cm x 60.5 cm x 31.8 cm
- Gabriel Acevedo Velarde, “Art piece No.17”, 2013, Cardboard, paper, acrylic, printed plastic sheets, red plastic sheet, MDF, 70.1 cm x 42.5 cm x 16.6 cm
- Gabriel Acevedo Velarde, “Art piece No.18”, 2013, Cardboard, paper, acrylic, MDF, 30 cm x 42.3 cm x 7.6 cm
- Gabriel Acevedo Velarde, “Art piece No. 2”, 2011, Foam, acrylic plates, screws, MDF, 78.5 cm x 42.5 cm x 20.5 cm
- Gabriel Acevedo Velarde, “Art piece No. 7”, 2011, Acrylic paper, formica, foam board, 42 cm x 74,5 cm x 42 cm
- Gabriel Acevedo Velarde, “Museum of Natural State. Infiltrated Ministry of Education (1)”, 2013, Series: Museum of Natural State, Polystyrene rigid foam, inkjet print, 23,7 cm x 26 cm x 5,2 cm.
Translated from Spanish
Since 2009, my work has focused on the study of Op and geometric art, mainly how haute couture houses and readymade brands appropriated these avant-gardes for the creation of fashion trends. My works begin with the appropriation of patterns found in magazines, books, and websites about fashion. These appropriations are presented in installations, paintings and collages, using not only art techniques but also materials and techniques from fashion design and graphic design, such as studs, leather, and cutting plotter.
Optical Power is a project, developed in black and white, in which I focused on Op Art, recontextualizing designs by Rudi Gernreich, Rei Kawakuro, and Pucci, among others. In Geometría Pura Mente Consumista (Pure Geometry Consumerist Mind) I wanted to include geometric patterns designed by haute couture brands and multinational corporations, but as collages in die-cut leather, with studs or cut and sewn pieces. I am developing the most recent work with polyurethane paint and polyester, and continue to appropriate geometric patterns—but in this case, the patterns are combined as diptychs and polyptychs that are loaded with color and content.
Desde el 2009 mi trabajo se ha enfocado en estudiar el arte óptico y geométrico, principalmente como las casas de alta costura y las marcas readymade se apropian de estas vanguardias para la creación de tendencias de moda. La creación de mis trabajos parte de la apropiación de patrones encontrados en revistas, libros y páginas web sobre moda. Estas apropiaciones son presentadas en instalaciones, pinturas y collages, utilizando no solamente las técnicas propias del arte sino a su vez materiales y técnicas del diseño de moda y el diseño gráfico como taches, cueros y plotter de corte.
Optical Power es un proyecto que se desarrollo en blanco y negro y donde me enfoque en el arte óptico, recontextualizando diseños de Rudi Gernreich, Rei Kawakuro y Pucci entre otros. En Geometría Pura Mente Consumista quise abarcar los patrones geométricos diseñados por casas de alta costura y marcas multinacionales pero trabajados a manera de collage en cueros troquelados, con taches o piezas recortadas y cosidas. El trabajo más reciente lo estoy desarrollando con pinturas en poliuretano y poliéster donde sigo apropiándome de patrones geométricos pero esta vez estos patrones son conjugados a manera de dípticos y polípticos tomando una fuerza de color y contenido.
Selected Biographical Information
Education / Training
- 2007-2008: MA Fine Arts, Central Saint Martins College of arts and design, London, UK.
- 1998-2002: Artista Plástica, Universidad de los Andes, Bogotá, Colombia.
- 1994-1996: Applied arts in Fashion Design, The Art Institute of Dallas, Dallas, USA.
Prizes / Fellowships
- 2007-2008: Jóvenes Talentos, Banco de la República, Bogotá, Colombia.
Solo Exhibitions
- 2013: “Geometría Pura Mente Consumista”, Nueveochenta arte contemporáneo, Bogotá, Colombia.
- 2011: “Optical Power”, Nueveochenta arte contemporáneo, Bogotá , Colombia.
- 2009: “Made In”, Nueveochenta arte contemporáneo, Bogotá, Colombia.
- 2007: “Sueños Technicolor”, Alianza Francesa, Bogotá, Colombia.
- 2005: “Knock off”, Galería Casas Riegner, Bogotá, Colombia.
Group Exhibitions
- 2014: “Project Room Zona Maco Sur: Las cosas son repentinas”, Zona Maco Sur, Mexico City, Mexico.
- 2012: “Nuestro sitio: artistas de America del Sur”, Mavi, Santiago de Chile, Chile.
- 2011: ” Nuestro sitio: artistas de America del Sur”, MacNiteroi, Niteroi, Brazil.
- 2011: “Resurfaced: Contemporary Colombian art”, MagnanMetz Gallery, Nueva York, USA.
- 2011: “Sobre el Territorio: Arte Contemporáneo en Colombia”, Santralistanbul, Istanbul, Turkey.
- 2011: “Project Room Chaco: Expediciones visuales: Viajes por el Pacifico”, Chaco, Santiago de Chile, Chile.
- 2010: “Puntos suspensivos”, Museo Diego Rivero, Mexico City, México.
- 2009: “The Red Mansion Art Prize Exhibition”, Slade Research Centre, London, UK.
- 2009: “Integración y Resistencia en la era global”, X Bienal de la Habana, Habana, Cuba.
- 2008: “Degreeshow”, Central Saint Martins College of art and design, London, UK.
- 2008: “A constant cracking of the surface”, Bargehouse, London, UK.
Collections
- Banco de la República, Bogotá, Colombia.
- Barbarita Cardozo, “Telón”, 2011, Series: 7, Adhesive vinyl on wall, Variable dimensions.
- Barbarita Cardozo, “Fall 1971, Autum\winter 2000, Fall 1971 II”, 2011, Series: 5, Digital printing on canvas encapsulated in acrylic, 120 cm x 120 cm x 2 cm. Private collection.
- Barbarita Cardozo, “Spring/Summer 1973”, 2011, Series: 1, Enamel on acrylic, 158 cm x 120 cm x 1 cm.
- Barbarita Cardozo, “Mid 1950´s”, 2011, Series: 7, Adhesive vinyl on wall, Variable dimensions. Private collection.
- Barbarita Cardozo, “Geometría No. 11”, 2013, Series: 1, Collage on synthetic leather, 130 cm x 111 cm
- Barbarita Cardozo, “Geometría No.1”, 2012, Series: 1, Collage of rhinestones on synthetic leather, 50 x 33 cm each. Private collection
- Barbarita Cardozo, “Geometría No. 8”, 2013, Series: 1, Collage on synthetic leather, 168 cm x 120 cm
- Barbarita Cardozo, “Geometría No. 10”, 2013, Series: 1, Collage on synthetic leather, 115 cm x 151 cm. Private collection.
- Barbarita Cardozo, “Geometría No.4”, 2013, Series: 1, Collage on synthetic leather, 136 cm x 206 cm. Private collection
- Barbarita Cardozo, “Geometría No. 6”, 2013, Series: 1, Collage on synthetic leather, 136 cm x 206 cm
- Barbarita Cardozo, “Otoño\Invierno 2013”, 2013, Series: 1, Polyurethane on mdf, 210 cm x 180 cm. Private collection
- Barbarita Cardozo, “Otoño\Invierno 2014”, 2014, Series: 1, Polyurethane on mdf, 210 cm x 180 cm. Private collection
Translated from Spanish
My work, influenced by my formation as a filmmaker and the constant contact with architecture, make me incorporate elements such as abstraction, geometry, memory, light, shadow, the relationships that exist in the creation processes and interaction with life itself.
The process is part of the result within itself, which makes us discover places or questions that we would not make if it wasn’t for that constant search and experimentation of situations and experiences.
The way I materialize my ideas—photography, painting, sculpture and video.
Based on the concept in which the goal is in the process of creation more than in the result, I always seek to let myself be guided by accidents and the unknown, to be able to explore new ideas of expression and abstraction.
Mi trabajo, influenciado por una formación como cinematógrafo y el constante contacto con la arquitectura hacen que incorpore elementos como la abstracción, la geometría, la memoria, la luz, la sombra, la relación que existe en los procesos de creación e interacción con la vida misma.
El proceso es parte del resultado en sí mismo; aquel que hace que descubramos lugares o preguntas que no nos formularíamos si no fuera por esa constante búsqueda y experimentación de situaciones y experiencias.
Las forma en la que materializo mis ideas son: fotografía, pintura, escultura y video.
Basado en el concepto de que la meta está en el proceso de creación más que en el resultado, siempre busco dejarme llevar por los accidentes y lo desconocido para explorar nuevas ideas de expresión y abstracción.
Selected Biographical Information
Education / Training
- Cinematógrafo, Capilano College, Vancouver, Canada.
Prizes / Fellowships
- 2012: Residencia estudio extendido, Casa Vecina, Mexico City, Mexico.
Solo Exhibitions
- 2013: “En las profundidades de la naturaleza, la razón debe inclinarse”, Mexico City, Mexico.
- 2012: “Rock and Roll“, Casa Vecina, Mexico City, Mexico.
- 2012: “Mondrian abstract skating”, T0, T1, T2, T3, T4, T5, Sala Juarez, Guadalajara, Jalisco, Mexico.
- 2012: “Losing Mysealf”, Calle 2, Pabellón A, Guadalajara, Jalisco, Mexico.
Group Exhibitions
- 2013: “(untitled)”, San Pedro, Garza, García Nuevo León, Mexico
- 2013: “Sin necesidad de profecías”, Guadalajara, Jalisco, Mexico.
- 2013: “Tinnitus y Fosfenos”, Museo de Arte Zapopan, Guadalajara, Jalisco, Mexico.
- 2013: “Paradise is an Island so is Hell”, Careyes, Jalisco, Mexico.
- 2011: “Everything Must Go”, New York, USA.
Publications
- 2013: Rock and Roll, Casa Vecina, estudio extendido.
Collections
- Sayago & Pardon, CA, USA.
- Colección Suro, Guadalajara, Mexico.
- Colección Fajer, Mexico City, Mexico.
- Colección Enrique Macotela, Mexico City, Mexico.
- Varias colecciones privadas San Pedro, Garza-Garcia, Mexico City, Mexico.
Links
- Adrián S. Bará, “untitled”, Masking tape and acrylic paint, 60 x 50 cm each. Image courtesy of the artist and FIFI projects
- Adrián S. Bará, “untitled” (Detail), Masking tape and acrylic paint, 60 x 50 cm each. Image courtesy of the artist and FIFI projects
- Adrián S. Bará, “transworld skateboarding 2005-2012”, 2012, Acrylic paint on magazine pages, 38 x 32 cm each. Image courtesy of the artist and FIFI projects
- Adrián S. Bará, “transworld skateboarding 2005-2012” (Detail), 2012, Acrylic paint on magazine pages, 38 x 32 cm each. Image courtesy of the artist and FIFI projects
- Adrián S. Bará, “transworld skateboarding 2005-2012” (Detail), 2012, Acrylic paint on magazine pages, 38 x 32 cm each. Image courtesy of the artist and FIFI projects
- Adrián S. Bará, “imperfect ramp as imperfect structure” (detail), C-print, 45 x 35 cm. Image courtesy of the artist and FIFI projects
- Adrián S. Bará, “imperfect ramp as imperfect structure” (detail), C-print, 45 x 35 cm. Image courtesy of the artist and FIFI projects
- Adrián S. Bará, “imperfect ramp as imperfect structure” (detail), C-print, 45 x 35 cm. Image courtesy of the artist and FIFI projects
- Adrián S. Bará, “imperfect ramp as imperfect structure”, C-print, 45 x 35 cm. Image courtesy of the artist and FIFI projects
- Adrián S. Bará, “TL 1948”, Wood, glass and aluminum, 150 x 80 x 15 cm. Image courtesy of the artist and FIFI projects
- Adrián S. Bará, “mondrian abstract skating”, Vinyl, wood, neon, ramp, melamine, Installation, 120 x 170 cm. Image courtesy of the artist and FIFI projects
- Adrián S. Bará, “storytellers”, Magazine pages, acrylic, 39 x 31 cm each. Image courtesy of the artist and FIFI projects
- Adrián S. Bará, “storytellers” (detail), Magazine pages, acrylic, 39 x 31 cm. Image courtesy of the artist and FIFI projects
- Adrián S. Bará, “The Economist (19 abril de 1968), (22 de marzo de 1968)”, 2013, Acrylic paint on canvas, 34 x 40 cm. Image courtesy of the artist and FIFI projects
- Adrián S. Bará, “untitled”, Collage, 100 x 70 cm. Image courtesy of the artist and FIFI projects
Translated from Spanish
My practice is the result of my interest in the eroticism and geometry manifested through painting and installation. My recent work has largely referenced the human body and gender conditions; abstract and geometrical representations of bodies are made with diverse materials such as paint, sand, plaster, wood, fake fruits and shampoo, and more traditional oil paints. A more inclusive vision of sexuality can change and improve the way we live. This has been made apparent through the contributions of Feminism and queer theory. This is also a space where I locate dialogues that are informative for my work. I play with gender pictorially, mixing spiritual values, historical appreciations, aesthetics and styles. I am interested in the anthropological importance of decoration as a process and in its application in objects, and I play with this by challenging fixed ideas and unconscious meaning. How does the mind sense the materials and shapes of things? Why do we make decisions in one way and not in another? Is there a place where these dualities are simultaneously possible? I transform everyday materials into something new, as in Manzanas [Apples] where geometric forms adorn fake plastic fruits. My work as a painter engages a diversity of formats and media, from easel painting and installation, to the organization of cultural projects and results of the relationships between artists. I have participated actively with artist collectives like as Kiosko De Artistas, and in projects of col-leagues, clinical workshops and research meetings. I co-founded PintorAs [Female Painters], a project that includes 20 women artists from Argentina. As a curator, I organized the exhibitions Rework and Figuras [Figures], as a way to collectively investigate answers to questions of that arise from my own work.
Mi práctica es el resultado de mi interés en el erotismo y la geometría, manifiesto a través de la pintura pero también en otros medios como instalación. Mi trabajo reciente en gran medida hace referencia al cuerpo humano y a condiciones de género: representaciones abstractas y geométricas hechas con diversos materiales tales como pintura, arena, yeso, madera, frutas falsas y champú, y óleos. Una visión más integradora de la sexualidad puede cambiar y mejorar la forma en que vivimos. Esto ha sido evidente a través de las contribuciones de las teorías feministas y queer. En estas contribuciones, encuentro diálogos que son nutritivos para mi trabajo y desarrollo. También interpeló el género pictórico, mezclando los valores espirituales, la apreciación histórica, estéticas y estilos. Estoy interesada en la importancia escondida de la decoración como un mecanismo y en su aplicación en objetos y dispositivos. Busco desafiar las ideas fijas y los significados inconscientes. ¿Cómo la mente percibe las materialidades y formas de las cosas que nos rodean? ¿Por qué asumimos esa percepción de una manera natural y no en otra dirección? ¿Hay un lugar donde lo dado como opuestos son al mismo tiempo posibles e iguales? Busco convertir materiales de uso cotidiano en algo nuevo, como en Manzanas donde las formas geométricas adornan falsos frutos de plástico. Mi trabajo como pintora involucra una diversidad de formatos, soportes y medios, desde la pintura de caballete y la instalación, a la organización de proyectos culturales, muestras, y las relaciones entre los artistas. Fui co-fundadora de PintorAs, un proyecto que incluye 20 artistas de Argentina. Como artista-curadora, también organicé las muestras Rework y Figuras, siendo una manera de investigar colectivamente las preguntas que surgen en mi proceso de obras.
Selected Biographical Information
Education / Training
- Escuela Nacional de Bellas Artes “Prilidiano Pueyrredón”, 5 años, BFA, Buenos Aires, Argentina.
- Cursos en el Centro de Investigaciones Artísticas, 2009/10, with Paul Ramírez Jonas, Michael Smith, Roberto Amigo, Tulio de Sagastizábal, Doris Sommer, Andrea Giunta, Victoria Noorthoorn, María Moreno, Yoshua Okon.
Prizes / Fellowships
- 2013: Premio de Pintura Latinoamericana Arcos Dorados, Arteba, 1er Premio Adquisición.
- 2013: Premio Braque, Museo de la Universidad Nacional de Tres de Febrero.
- 2013: Bienal MBA/MAC Bahía Blanca, 1er Premio Adquisición.
- 2013: Premio Adquisición Igualdad Cultural Argentina.
- 2012: XV Premio KLEMM, 2do Premio, Fundación Federico J. Klemm, Buenos Aires.
- 2012: Salón Nacional de Rosario, Museo Castagnino.
- 2012: Beca Nacional del Fondo Nacional de las Artes, Argentina.
- 2011: Beca de movilidad a México de la Secretaria de Cultura de Argentina.
- 2011: XV Premio KLEMM, Fundación Federico J. Klemm, Buenos Aires.
- 2010/09: Beca de estudios en El Centro de Investigaciones Artísticas, Bs As.
- 2009: Auction 09 – Selection, MOLAA Awards, Museam of Latin American Art, Miami.
- 2008: Salón Nacional de Rosario, Museo Castagnino.
- 2007: Subsidio Línea Creadores – Fondo Metropolitano de las Artes -Gobierno de la Ciudad
- 2007: Laboratorio de Artes Visuales del Ctro Cultural Rojas.
- 2007: Salón Nacional de Instalaciones – Selección, Palias de Glace.
- 2006: Concurso Proyecto A – Selección.
- 2004: CURRÍCULUM CERO – 1° Premio, Galería Ruth Benzacar.
Solo Exhibitions
- 2013: “Paris”, Museo La Ene de Arte Contemporáneo, Buenos Aires, Argentina.
- 2013: “Popurrí”, Saffron Gallery, NY, USA.
- 2012: “Playroom”, Galería Daniel Abate.
- 2011: “Mis fantasías en el Changarrito”, Antiguo Colegio San Idelfonso, Mexico DF, Mexico.
- 2011: “Fabricando objetos de deseo”, taller e intervención, Casa Vecina, Mexico DF, Mexico.
- 2011: “Centros de mesa”, Perfecta Couture, Buenos Aires, Argentina.
- 2009: “Pre- Construction Preview”, Boulogne Sur Mer Studio Art Building, Buenos Aires, Argentina.
- 2007: “Desborde”, Centro Cultural de España en Bs As, Argentina.
- 2005: “Sin título”, Nuevo Espacio, Galería Ruth Benzacar, Bs As, Argentina.
- 2004: “Fotonovelas”, Festival de la Luz– fotografías en La Casona de los Olivera, Bs As, Argentina.
Group Exhibitions
- 2013: “Herstory Inventory”, Oakville Galleries, Toronto, Canada.
- 2013: “PintorAs”, Magda Bellotti Gallery, Madrid, Spain.
- 2013: Solo Projects, ArtRío, Brazil.
- 2012: “L.E.A.”, Faena Arts Center, Buenos Aires, Argentina.
- 2012: “Ultimas tendencias II”, Museo de Arte Moderno de Buenos Aires, Argentina.
- 2012: “PintorAs”, La Maison de l’Argentine, París, France.
- 2012: “Function Follows Form”, curator Aldo Chaparro Winder, Mexico DF, Mexico.
- 2012: “Herstory Inventory”, Ulrike Müller, Kunsthaus Bregenz Austria, and Brooklyn Museum NY, USA.
- 2011: “Un Museo Chévere”, Museo La Ene en Encuentro Internacional (Cheverista) Medellin, MDE11, Colombia.
- 2010: “The constructive élan”, Alejandra Von Hartz Gallery, Miami, USA.
Publications
- Big sur, número 2.
- Prosa plebeya, Ediciones Excursiones.
- Un Museo Chévere, de Museo La Ene.
- Crudo ediciones, de Martin Legón.
- 2obras N7 3ª año , de Verónica Romano.
- Convi.com.ar -videolinks-, de Mónica Heller.
- Revistas Ramona 60 Especial Poéticas Contemporáneas (II) y Ramona 101.
Collections
- Museo de Arte Moderno de Buenos Aires, Argentina.
- MAC Bahia Blanca, Argentina.
- Fundación Federico Klemm, Buenos Aires, Argentina.
- Adriana Minoliti, “Figuras sobre selva”, 2012, Oli and acrylic on canvas, 2.50 x 10 m. Photo credit: Ximena Martinez
- Adriana Minoliti, “Centerpiece”, 2012, Mannequin head, white glue, sand and paint on wood, 70 x 120 x 70 cm. Photo credit: Ximena Martinez
- Adriana Minoliti, “Playroom”, 2012, Installation with curtains, flooring and impressions, Variable dimensions. Photo credit: Ximena Martinez
- Adriana Minoliti, “SET -for a geometric postporn movie-“, 2012, Installation with “Selva” acrylic on canvas, “Cama”, PVA glue, sand and paint on wood, and “QUEER DECO”, color print on canvas, 3 x 4 x 3 m.
- Adriana Minoliti, “Naranaja”, 2011, Series: Queer Deco, Print on canvas, Variable dimensions.
- Adriana Minoliti, “Celeste”, 2011, Series: Queer Deco, Print on canvas, Variable dimensions
- Adriana Minoliti, “Hard”, 2011, Series: Playboy, B&W print, Variable dimensions
- Adriana Minoliti, “Abstract Porn”, 2011, video 2:20 min
- Adriana Minoliti, 2012, Series: Fantasías, Acrylic and ink on paper, 35 x 25 cm
- Adriana Minoliti, 2012, Series: Dibujos, Acrylic and ink on paper, 35 x 25 cm
- Adriana Minoliti, 2012, Series: Dibujos, Acrylic and ink on paper, 35 x 25 cm
- Adriana Minoliti, “XOXO”, 2013, Series: Paris, Print
- Adriana Minoliti, “Tarot -abstracción de catálogos de lencería “Frederick’s of Hollywood”-“, 2013, Projection, 9 color slides, variable dimensions
- Adriana Minoliti, “Queer Abstraction”, 2013, Series: Periodo Rosa, Acrylic on canvas, 50 x 40 cm
- Adriana Minoliti, “Soft”, 2012, Serigraphy on sheets, Variable dimensions
Translated from Spanish
I like to think of my studio as a laboratory, a place that allows work to be developed into an accumulative process of the graphic experience. Drawing is a way of thinking that makes connections between acquired concepts and executed forms. Far from representing concepts, I try to present them, shape them, and give them a new type of classification to designate them. The act of drawing connects mind with hand, oral language with the sense of touch. The shape might come close to a raw, primary, organic translation of the mind.
Me gusta pensar en mi estudio como un laboratorio, un lugar que permite que el trabajo que hago se desarrolle en un proceso acumulativo de la experiencia gráfica. El dibujo es una forma de pensar que hace conexiones entre los conceptos adquiridos y las formas ejecutadas. Lejos de tratar de representar conceptos trato de presentarlos, darles una forma, un nuevo tipo de clasificación para designarlos. El acto de dibujar conecta la mente con la mano, el lenguaje oral con el tacto. La forma podría acercarse a una traducción cruda, primaria y orgánica de la mente.
Selected Biographical Information
Education / Training
- 2010: Residencia Revolver galería, Lima Peru.
- 2009: Residencia “La Curtiduría”, TAGA Taller de Gráfica Actual, Oaxaca, Mexico.
- 2000-2005: Licenciatura en artes visuales: Escuela Nacional de Pintura, Escultura y Grabado “La Esmeralda” ENPEG CENART, Mexico City, Mexico.
Prizes / Fellowships
- 2014-2016: Becario del FONCA Sistema Fondo Nacional para la Cultura y las Artes, CONACULTA INBA, Mexico City, Mexico.
- 2013: Becario del FNA Fondo Nacional de las Artes, Bs As Argentina.
- 2010: Becario de CIA Centro de Investigaciones Artísticas, Bs As Argentina.
- 2007-2008: Becario del FONCA Fondo Nacional para la Cultura y las Artes, CONACULTA INBA, Mexico City, Mexico.
Solo Exhibitions
- 2013: “Taxonomía de un paisaje”, Dot fifityone gallery, Miami, USA.
- 2013: “Verosímil – Ficcional”, Document Art galería, Bs As Argentina.
- 2012: “Paisaje recuperado”, Arróniz galería, Mexico City, Mexico.
- 2011: “Taxonomía de un hallazgo”, MAM Museo de Arte Moderno, Mexico City, Mexico.
- 2010: “Frag-mentes (sistema de interpretación)”, Revolver galería, Lima, Peru.
- 2010: “Sesera”, Dot fiftyone gallery, Miami, USA.
- 2009: “La Razón a Voluntad”, Arróniz galería, Mexico City, Mexico.
- 2007: “Cambios de sitio”, Casa del Lago UNAM, Mexico City, Mexico.
- 2006: “Basura Afortunada”, Claustro de Sor Juana / Celda de Arte Contemporáneo, Mexico City, Mexico.
Group Exhibitions
- 2013: “Abstracción”, Arróniz galería, Mexico City, Mexico.
- 2013: “Open Studio 8”, Fundación Rozemblun, Bs As Argentina, Curator: Teresa Riccardi.
- 2013: “Rudimentum” Christinger de Mayo galería and Arróniz galería, Zürich, Switzerland.
- 2013: “Utopías de ilusión”, Art Nube (Kiosco) galería and Dot fiftyone gallery, Santa cruz de la Sierra, Bolivia.
- 2013: “Arróniz galería en Lima Perú”, Lima, Peru.
- 2013: “Building Bridges”, Fundación Rozemblum and Nosco Gallery, Bs As Argentina.
- 2012: Colectivo 2do piso, Agustín González, Moris, Omar Barquet y José Luis Landet, Baro galería, Sao Paulo, Brazil.
- 2012: “Open Studio 6”, Fundación Rozemblum, Bs As Argentina, Curator: Rodrigo Alonso.
- 2012: “Lo común y lo colectivo”. Artistas de Arróniz galería en galería Libertad, Querétaro, Mexico.
- 2012: “Discourse of the non-representational”, Dot Fiftyone gallery, Miami. USA.
- 2009: “20 años del FONCA”, magna exposición retrospectiva, Biblioteca Vasconcelos, Mexico City, Mexico.
- 2009 “Proyectos”, Revolver galería, Lima, Peru.
Publications
Links
- Taxonomy of a discovery | Jose Luis Landet
- Mexico: Agustín González, José Luis Landet, Moris and Omar Barquet
- Revista Magenta – Jose Luis Landet
- Arte Aldia – Jose Luis Landet
- José Luis Landet, “Volemia”, 2012, Series: 1, Wood, 6 liters of black ink, 5034 A4 sheets, 300 x 200 x 170 cm, Site specific project. Location: Arróniz galería, Mexico. Photo credit: Andrea Martinez
- José Luis Landet, “Volemia continuo”, 2013, 4 Wood panels, 160 A4 sheets and blue ink, 250 x 500 cm, Site specific project. Location: Dot fiftyone gallery, Miami. Image courtesy of the artist
- José Luis Landet, “Paisaje recuperado”, 2013, Series: XII, XIII y XIV, Oil on canvas (1940-1960), enamel, glue on wood for each panel, 160 x 120 cm each. Image courtesy of the artist
- José Luis Landet, “Porosidad”, 2013, Series: 7, Oil on canvas (1940-1960), enamel, glue on wood for each panel, 150 x 200 x 6 cm. Photo credit: Albano Garcia
- José Luis Landet, “Paisaje recuperado”, 2010, Series: 1, Oil on canvas (1940-1960), glue on cardboard, 150 x 110 cm. Sayao & Pardon Collection. Photo credit: Andrea Martinez
- José Luis Landet, “Paisaje recuperado”, 2012, Series: 2, Oil on canvas (1940-1960), glue on canvas, 160 x 120 cm. Photo credit: Andrea Martinez
- José Luis Landet, “Paisaje recuperado”, 2012, Series: 4, Oil on canvas (1940-1960), glue on canvas, 160 x 120 cm. Photo credit: Andrea Martinez
- José Luis Landet, “Paisaje recuperado”, 2012, Series: 5, Oil on canvas (1940-1960), glue on canvas, 160 x 120 cm. Photo credit: Andrea Martinez
- José Luis Landet, “Paisaje recuperado”, 2013, Series: 11, Oil on canvas (1940-1960), glue on canvas, 160 x 120 cm. Colección Trapiche Argentina. Photo credit: Andrea Martinez
- José Luis Landet, “Border, tiras y contornos”, 2012, Series: 1, Oil on canvas, 9 fragments, 150 x 20 cm each. Site specific project. Location: Dot fiftyone gallery, Miami. Image courtesy of the artist
- José Luis Landet, “Duda”, 2012, Black ink on gray felt, 150 x 200 cm. Image courtesy of the artist
- José Luis Landet, “Principio de polaridad”, 2012, Series: 1, Black ink on white felt, 30 x 42 cm each. Private Collection, Mexico. Image courtesy of the artist
- José Luis Landet, “Principio de polaridad”, 2013, Series: 18 dibujos, Black ink on paper, realized with hands, arms and elbows, 260 x 650 cm. Image courtesy of the artist
- José Luis Landet, “Principio de polaridad”, 2013, Series: 17, Black ink on paper, realized with hands, arms and elbows, 70 x 100 cm. Image courtesy of the artist
- José Luis Landet, “Principio de polaridad”, 2013, Series: 9, Black ink on paper, realized with hands, arms and elbows, 70 x 100 cm. Image courtesy of the artist
- José Luis Landet, “Anti-monumento 3”, 2013, Wooden racks of various dimensions and oil and enamel on canvas, 303 x 497 x 97 cm. Image courtesy of the artist.
- José Luis Landet, “Anti-monumento 3” (Detail), 2013, Wooden racks of various dimensions and oil and enamel on canvas, 303 x 497 x 97 cm. Image courtesy of the artist.
- José Luis Landet, “Anti-monumento 3” (Detail), 2013, Wooden racks of various dimensions and oil and enamel on canvas, 303 x 497 x 97 cm. Image courtesy of the artist.
- José Luis Landet, “Anti-monumento 3” (Detail), 2013, Wooden racks of various dimensions and oil and enamel on canvas, 303 x 497 x 97 cm. Image courtesy of the artist.
- José Luis Landet, “Borde, contorno y límite”, 2013, Oil on canvas 1940-1960 and cement, 60 x 90 cm. Image courtesy of the artist.
Work occurs inside the intermittent activity conducted between things immediate and things suspended in thought: the familiar, the unknown and its eventual recombination. The employment of shifting materials and the recurrence of abstraction acts inside the practice as a reminder of all that persists only through relation: ideas which cannot be reflected upon without being translated, altered or negated. It is under these conditions that several aspects of the work are introduced; namely its particular use of the observer’s point of view, its relationship to a specific time of reading and the idea of a fragmentary expectation being the conduct in which the minor and the major activate their difference.
Traducido del inglés
El uso de materiales cambiantes y la recurrencia de la abstracción actúan dentro de la práctica como recordatorio de todo lo que persiste sólo por relaciones: ideas que no pueden reflejarse sin ser traducidas, alteradas o negadas. Es dentro de estas condiciones que muchos aspectos de la obra son introducidos; concretamente el uso particular del punto de vista del espectador, su relación con un tiempo específico de lectura y la idea de una expectativa fragmentaria como el conducto a través del cual lo menor y lo mayor activan su diferencia.
Selected Biographical Information
Education / Training
- 2010-2012: Painting MA Royal College of Art, London, UK.
- 2004-2009: BA in Fine arts at the National College of Painting, Sculpture and Printmaking ‘La Esmeralda’ of the National Institute of Fine Arts. Mexico City, Mexico. Honors.
Prizes / Fellowships
- 2010-2012: National Fund for the Arts (FONCA) – Mexico, Scholarship Program for Artistic Studies Abroad.
-
2010-2012: Jumex Collection and Foundation grant for artistic studies, Mexico.
Solo Exhibitions
- 2013: “I wished to say YES and NO at the same time“, 4 WINDMILL STREET Gallery, London, UK.
- 2012: “Libre tránsito de motivos”, Neter, Mexico City, Mexico.
- 2011: “Five drawings about fire”, Royal College of Art, London, UK.
Group Exhibitions
- 2013: “(untitled)”, FIFI projects MTY, Nuevo León, Mexico, Mexico.
- 2013: “DANCING CIRCLES”, M María Contreras 19a – PH.
- 2013: “Alignment: From Beginning to the End”, Backlit Gallery, Nottingham, United Kingdom.
- 2013: “WINTER IS COMING”, NETER, Mexico City, Mexico.
- 2013: “Presages”, FIFI projects, Mexico City, Mexico.
- 2013: “ON ICE”, Plaza Merced 2000, Mexico City, Mexico.
- 2013: “Papeles Salvajes, Machete”, curated by Arroniz Arte Contemporáneo, Mexico City, Mexico.
- 2012: “Prepare su Cuota”, Zacatecas 194, Mexico City, Mexico.
- 2012: “Te conozco de vista”, NETER, Mexico City, Mexico.
- 2012: “Summer Show“, Patrick Heide Contemporary, London, UK.
- 2012: “A project for the sun”, Blyth Gallery, London, UK.
- 2011: “Series”, Yautepec 103, Mexico City, Mexico.
Links
- Christian Camacho Reynoso, “4”, 2013, Series: honest mistakes, Aluminum, neodymium magnets, coloured rubber erasers, 60 x 32 x 3 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “3”, 2013, Series: honest mistakes, Golden privacy filter, neodymium magnets, suit jacket. Image courtesy of the artist.
- Christian Camacho Reynoso, “plans II”, 2013, C-type print, 46 x 30 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “telecomunicaiones y transportes”, 2013, Aluminium, glass, bow springs, cotton board, 33.5 x 39 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “self portrait as material”, 2013, Golden privacy filter, lenticular, tape, neodymium magnets, charcoal, wire, 39 x 52 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “self portrait as material”, 2013, Golden privacy filter, lenticular, tape, neodymium magnets, charcoal, wire, 39 x 52 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “drowned form”, 2013, Pure pigment on cotton board, 39 x 52 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “lucky you”, 2013, Coloured plastic geometry set, polypropylene screen, tape, 60 x 80 x 19 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “untitled”, 2013, Pure pigment on paper, 90 x 59 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “2”, 2013, Series: honest mistakes, Golden and silver aluminium, neodymium magnets, golden privacy filter, 80 x 35 x 22 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “last night feels obsolete”, 2011, Real-time cgi projection, Variable dimensions, Site specific project. Location: Mexico. Image courtesy of the artist.
- Christian Camacho Reynoso, “la verdadera forma de la ‘h’ “, 2013, Lenticular on wall, 50 x 70 x 5 cm, Site specific project. Location: Mexico. Image courtesy of the artist.
- Christian Camacho Reynoso, “the gradient studio”, 2012, Series: the gradient studio, C-type print documenting collection of A4 and Letter size gradients printed with inkjet on acetate, 30 x 46 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “the gradient studio”, 2012, Series: the gradient studio, C-type print documenting collection of A4 and Letter size gradients printed with inkjet on acetate, 30 x 46 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “are you nobody too”, 2011, Looped cgi projection on wall with mirror, Variable dimensions, Site specific project. Location: Mexico. Image courtesy of the artist.
- Christian Camacho Reynoso, “drowned form II”, 2013, Pure pigment on paper, 60 x 90 cm. Image courtesy of the artist.
Art to Art. Life to Life Osvaldo Romberg. The Aldrich Museum of Contemporary Art, 2000 Art begins when life is not enough. In modern culture the acceptance of death signifies the loss of connection with the infinite. It is in this area of thinking, in the loss of the infinite, that art gives relief and new hopes for spirituality. Art makes evident (and occasionally succeeds in resolving) the conflict between being and integrating with the world. This is a dilemma which religion can no longer address. All the religions of the world are narratives. In these narratives are implicit mythologies and explanations which help people to survive the panic of death and solitude. In the past, art merely rearticulated these narratives. In recent years, however, I have observed that art is replacing religion by raising its own issues of morality, identity, mortality, and transcendence. Art used to be the illustration of the metaphysical. It has now become the metaphysical itself. The vitality and dynamism of contemporary art challenges religions ability to face the relevant issues at the end of the millennium: artificiality, reproduction of the species, and equality. Paraphrasing Martin Heidegger, we can say that the authentic dialogue with the art of an artist is artistic, as opposed to critical. There is no artistic dialogue between artists and those who do not believe in the power of art to contain essential truths. Art can be viewed as an antidote to the static and paralyzing force of religion in a post-capitalist, globalist era. The idea of art as a regenerative activity is described in The Glass Bead Game by Hermann Hesse, which I read in my adolescence. The book is about the translation of all information systems and human knowledge into one code, The Game. Once you enter this universal language, you can integrate all aspects of human experience. Marcel Duchamp is the “Magister Ludi.” Art today can surpass the two pervasive theories confronting our post-capitalist world: the pseudo-democratic relativism of postmodernism vs. the oppressive dictatorship of fundamentalism. Referring to The Bride Stripped Bare by her Bachelors, Even, in a 1966 interview with Pierre Cabanne, Duchamp said, “… I almost never put any calculations into the Large Glass. Simply, I thought of the idea of a projection, of an invisible fourth dimension, something you couldn’t see with your eyes.” Is this not the domain of the divine?
Traducido del inglés
El arte al arte, la vida a la vida. Osvaldo Romberg. The Aldrich Museum of Contemporary Art, 2000 El arte comienza cuando la vida no es suficiente. En la cultura moderna, la aceptación de la muerte significa la pérdida de la conexión con lo infinito. Es dentro de esta área de pensamiento, en la pérdida de lo infinito, que el arte da alivio y nuevas esperanzas para una espiritualidad. El arte hace evidente (y en ocasiones tiene éxito en resolver) el conflicto entre ser e integrarse con el mundo. Este es un dilema que la religión no puede abordar. Todas las religiones del mundo son narrativas. En estas narrativas, mitologías y explicaciones que ayudan a la gente a sobrevivir el pánico de la muerte y la soledad se hacen implícitas. En el pasado, el arte simplemente expresaba estas narrativas. En años recientes, sin embargo, he observado que el arte está reemplazando a la religión al manifestar sus propios problemas de moralidad, identidad, mortalidad y trascendencia. El arte solía ser la ilustración de lo metafísico. Hoy en día se ha vuelto lo metafísico. La vitalidad y el dinamismo del arte contemporáneo cuestionan la capacidad de la religión de enfrentar los temas del fin del milenio: artificialidad, reproducción de las especies, e igualdad. Parafraseando a Martin Heidegger, podemos decir que el diálogo auténtico con el arte de un artista es artístico, a diferencia de crítico. No existe un diálogo artístico entre los artistas y aquellos que no creen en el poder del arte de contener estas verdades esenciales. El arte puede ser visto como antídoto a la fuerza estática y paralizante de la religión en la era post-capitalista y global. La idea del arte como actividad regenerativa es descrita en El Juego de los Abalorios por Hermann Hesse, el cual leí en mi adolescencia. El libro es acerca de la traducción de todos los sistemas de información y el conocimiento humano en un sólo código: El Juego. Al entrar en este lenguaje universal, te puedes integrar a todos los aspectos de la experiencia humana. Marcel Ducham es el “Magister Ludi”. El arte hoy en día puede superar las dos teorías generalizadas que confrontan nuestro mundo post-capitalista: el relativismo pseudo-democrático del posmodernismo vs. la dictadura opresora del fundamentalismo. Al referirse a La novia puesta al desnudo por sus solteros, incluso, en una entrevista de 1966 con Pierre Cabanne, Duchamp dijo “a pesar de que casi no haya incluido ningún cálculo en Le Grand Verre… Simplemente, pensé en la idea de una proyección, de una cuarta dimensión invisible puesto que no se puede ver con los ojos”. ¿No es este el dominio de lo divino?
Selected Biographical Information
Education / Training
- 1956-1962: Universidad de Buenos Aires, Facultad de Arquitectura.
Solo Exhibitions
- 2013: “The Color Factor”, Henrique Faria Fine Art, New York, USA.
- 2012: “Color Constellation Project”, 11×7 Galería de Arte, Buenos Aires, Argentina.
- 2011: “Works from the 1970s”, Henrique Faria Fine Art, New York, USA.
- 2011: Zemack Contemporary Art Gallery, Tel Aviv.
- 2011: “Drawings from the series Art History”, Philadelphia Museum of Art, Philadelphia, USA.
- 2010: “Osvaldo Romberg: The study of structures and story telling”, The Artists’ House, Tel Aviv.
- 2010: “1960 – 2010 Works on paper”, Galería Laura Haber, Buenos Aires, Argentina.
- 2010: “The Eye of the Fly (Multimedia installation)”, Mestrovic Pavilion, Zagrev, Croatia.
- 2009: “Video Installation”, Neue Galerie am Landesmuseum Joanneum, Graz, Austria.
- 2009: “Videos and Stills”, Z.K.M., Karlsruhe.
- 2009: “Buildings, Footprints, and Watercolors”, Sabanci University, Istanbul, Turkey.
- 2008: “Videos and Stills”, Centro Cultural Recoleta, Buenos Aires, Argentina.
- 2008: “Dear Theo, The Night that Van Gogh Cried”, Galería Vasari, Buenos Aires, Argentina.
- 2007: “Jesus de Buenos Aires”, Kunst Museum, Bonn.
- 2007: “Buildings Footprints”, Museo de Arte Moderno, Buenos Aires, Argentina.
- 2007: “Framing the Art”, Heike Curtze Gallery, Vienna.
- 2005: “Narrative Architectural (1987—2005)”, (cat.), Musée d’Art Moderne, Saint Etienne.
- 2005: “Text, Image, Object (1963 – 2005)”, (cat.), Van Abbemuseum, Eindhoven.
- 2003: “From Paradise to Paradise: A Hypertext about Love in Three Parts”, Universal Concepts Unlimited, New York, USA.
- 2001: “The Library Is Burning”, (recent books), Jan Van der Donk Gallery, New York, USA.
- 2000: “Bésame Mucho: A Hypertext About Love”, (cat.), Domgrabungsmuseum, Salzburg; White Box Gallery, New York, USA.
- 2000: “Retinal-Non-Retinal”, (cat.), Staedtische Kunstsammlungen, Augsburg.
- 1999: “Romberg´s Walks at the Kunsthistorische Museum” (cat.), Kunsthistorische Museum, Vienna and Galerie Heike Curtze, Vienna.
- 1997: “Bypass (1972-1997)”, (cat.), Kunstmuseum, Bonn.
- 1997: “Osvaldo Romberg: A Survey (1974-1997)”, Stux Gallery, New York, USA.
- 1996: “+2000/-2000 Even” (cat.), exhibited simultaneously at: Fundacion Xavier Corbero, Barcelona; Ludwig Museum, Budapest; Ludwig Museum, Cologne; Museum of Modern Art, Odessa; Pennsylvania Academy of the Fine Arts, Philadelphia; The Reykjavik Municipal Art Museum, Reykjavik; Stadtgalerie, Saarbruecken; Tel Aviv University Gallery, Central Library; Sudo Museum, Tokyo; Museum Moderner Kunst, Vienna.
Group Exhibitions
- 2012: “Palabras, imágenes y otros textos”, Museo de Arte Moderno, Buenos Aires, Argentina.
- 2011: “Sistemas, Acciones y Procesos: 1965-1975”, Fundación Proa, Buenos Aires, Argentina.
- 2011: “A Line of Color”, Henrique Faria Fine Art, New York, USA.
- 2010: “Imán: Nueva York”, Fundación Proa, Buenos Aires, Argentina.
- 2008: “Medium Religion”, Z.K.M. Zentrum fur Kunst und Medientechnologie, Karlsruhe.
- 2007: “Lightning”, Galerie Heike Curtze, Salzburg.
- 2005: “Domicile: Privé/Public (installations of “Syzygy III” and “The Last, Machu Pichu”)”, Musée d’Art Moderne, Saint Etienne.
- 2000: “Topologies: Weiner, Le Va, Anastasi, Romberg”, White Box Gallery, New York, USA.
- 1999: “Faith”, The Aldrich Museum of Contemporary Art, Connecticut, USA.
- 1999: “Plural Speech”, White Box Gallery, New York, USA.
- 1998: “The Seventies”, Tel Aviv Museum, Tel Aviv.
- 1997: “Unmapping the Earth”, Kwangju Biennial.
- 1997: “Transversions”, Second Biennial of Johannesburg.
- 1995: “Avant-Garde Walk a Venezia”, Venice Biennial, Italy.
- 1995: “White Machu Pichu”, Artists’ Museum, Mitzpeh Ramon, Israel.
Collections
- Museo de Arte Moderno, Buenos Aires, Argentina.
- MUHKA-Museum of Contemporary Art, Antwerp.
- Kunstmuseum, Bonn.
- Museo de Bellas Artes, Buenos Aires, Argentina.
- Ludwig Museum, Cologne, Germany.
- Leopold-Hoesch Museum, Dueren.
- Wilhelm Lehmbruck Museum, Duisburg.
- The Haifa Museum of Modern Art, Haifa.
- Sprengel Museum, Hannover.
- The Israel Museum, Jerusalem.
- California State University, University Library, Long Beach, USA.
- Wilhelm Hack Museum, Ludwigshafen.
- Jewish Museum, New York, USA.
- Museum of Modern Art, New York, USA.
- Philadelphia Museum, Philadelphia.
- The Tel Aviv Museum, Tel Aviv.
- Museum Moderner Kunst, Vienna.
- Library of Congress, Washington, DC., USA.
- Osvaldo Romberg, “Orange cadmium”
- Osvaldo Romberg, “1-388 All the Colors of the Chromatic Circle Interacted by Blue Ultramarine”, 1980, Acrylic and graphite on canvas, 78 x 70 in. (198 x 177.8 cm) Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “1-389 All the Colors of the Chromatic Circle Interacted by Orange Cadmium”, 1980, Acrylic and graphite on canvas, 78 x 70 in. (198 x 177.8 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “1-77 of 77 Tonal Value Classif. Of 77 Stripes (All of Them) from “Madonna Di Pellegrini”, Caravaggio”, 1977, Collage and graphite on paper, 21 1/2 x 29 in. (54.5 x 73.5 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “The Hanover Color Constellation”, 1982/2012, Acrylic on wood, Dimensions variable, Edition of 3. Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “Dirty Geometry”, 2012, Acrylic on canvas, 31 1/2 x 47 1/4 in. (80 x 120 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “Analysis of the Tempest “Giorgione”, 1976, Acrylic, collage and pencil on paper, 27 3/16 x 38 3/8 in. (69.5 x 97.5 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “1-24 Box order (Family Color Order) 25 – 43 Not Order”, 1975, Colored pencil on paper, 19 1/3 x 27 1/2 in. (49 x 69.8 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “1-7 Tonal Value Key”, 1977, Acrylic on canvas ,33 1/2 x 49 in. (85 x 124.5 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “The Blue, the Red, the Yellow”, 1975, Ink and graphite on paper, 27 3/8 x 19 1/2 in. (69.5 x 49.5 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “Black Printed Paper Analysis”, 1976, Collage and rubber-stamp on paper, 18 1/2 x 25 5/8 in. (47 x 65 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
A way to talk about the future while talking about the past. It is our present moment.
My multi-disciplinary practice, involving painting, sculpture, collages and manipulation.
Locations normally seen out the corner of the eye. The happy themes of arts, books, advertising, languages and different sources. Imagery from other eras where both treatment of the subject and the physical elements of the photography are current convention. Evoking narratives and memories through the juxtaposition of objects and images. I strive to create work that is highly charged and simultaneously empty.
My eclectic use of materials – including resin, aluminum, wood or clay—develops my fascination with the visual importance and presentation of objects. Working with photography, and painting my interests have evolved into the realms of 3D, presenting still images in an ever more engaging and dynamic set-up. Sometimes obscures parts of my found photographs and magazine cutting—playing on the interpretation and interplay between images—after my careful arrangement.
My work might also be interpreted as a comment on populist vs. elitist art. But they’re certainly not meant as criticism, as I am interested in both high and low culture and materials itself.
Traducido del inglés
Una forma de hablar sobre el futuro mientras se habla del pasado. Es nuestro momento presente. Una práctica multidisciplinaria, que incluye pintura, escultura, collage y manipulación. Lugares normalmente vistos de reojo. Los temas felices de las artes, libros, publicidad, lenguajes y diversas fuentes. Imágenes de otras eras donde el tratamiento del tema y los elementos físicos de la fotografía son la convención actual. Evocar narrativas y memorias por medio de la yuxtaposición de objetos e imágenes. Lucho por crear obra que está cargada de contenido y es vacía a la vez.
Mi uso ecléctico de materiales, incluyendo resina, aluminio, madera o arcilla, desarrolla mi fascinación con la importancia visual y la presentación de los objetos. Trabajando con fotografía y pintura, mis intereses han evolucionado hacia el campo de la tercera dimensión, presentando imágenes fijas en configuraciones más dinámicas e interesantes. Mi obra también puede ser interpretada como un comentario del arte populista vs. elitista, pero ciertamente no están hechas como crítica, puesto que también estoy interesado en materiales elevados y de cultura popular.
Selected Biographical Information
Education / Training
- 2009 – 2010: International Studio and Curatorial Program, New York, USA.
- 2009: School of Visual Arts SVA, New York, USA.
- 1996 – 2000: BFA, UFT of Chile, Santiago, Chile.
Prizes / Fellowships
- 2014: APT, Artist Pension Trust, New York – México, USA.
- 2012: Dirac “Visible Arquitects” Chilean art at a global crossroads, Chile.
- 2011: Nes Artist Lista Midstod, Skagaströnd, Iceland.
- 2010: Nominate Scholarship Beca, Gasworks ResidencIes London-UK.
- 2010: International Studio and Curatorial Program ISCP NY-USA.
- 2009: International Studio and Curatorial Program ISCP NY-USA.
Solo Exhibitions
- 2014: “I with out Kleenex“, ArtEspacio, Santiago, Chile.
- 2012: “Fall and Fold“, The Goma, Madrid, Spain.
- 2011: “20 minutes of weight“, The Goma, Madrid, Spain.
- 2011: “Okk Raum/29″, Okk Raum/29, Berlín, Germany.
Group Exhibitions
- 2014: “Eleven Rivington“, Eleven Rivington, New York, USA.
- 2013: “Restos Impresos”, LIMAC MUSEUM, Lima, Perú.
- 2013: Biennial Museo del Barrio “Here is where we jump”, Museo del Barrio, New York, USA.
- 2013: “Visible arquitects“, Chilean Embassy Washington DC, Washington DC, Chile.
- 2013: “Arco Highlighted artist “, Arco Madrid – The Goma, Madrid, Spain.
Publications
- 2014: Art in America, “Exhibitions The Lookout“, Art in America, July 2014 , 1.
- 2013: Arco 2013 Catalogue“Hightlighted artist”.
- 2013: AD Magazine Spain Arco 2013.
- 2012: Revista ED, fall and fol, d Carlos Loyola. Chile Agosto 2012.
- 2011: Adriana Herrera Téllez, Arte al Día ( Nov ). Pinta New York 2011.
- 2011: Adriana Herrera Tellez . Hispanic, NewYork, Pinta. Geometrías del Sur. New York. US.
- Pablo Jansana, “Untitled Nr 3 AbEx”, 2012, Epson Ultrachrome PRO 4880 on MDF, fiberglass and plexiglass, 23 x 17 in. Photo credit: Thelma García.
- Pablo Jansana, “Munich circle”, 2012, Epson Ultrachrome PRO 4880 on MDF, fiberglass and plexiglass, 23 x 17 in. Photo credit: Thelma García.
- Pablo Jansana, “Untitled Nr10, Gisele Freund”, 2012, Epson Ultrachrome PRO 4880 on MDF, fiberglass, plexiglass and aluminum, 23 x 17 in. Photo credit: Thelma García.
- Pablo Jansana, “Untitled Nr10”, Adrienne Rich”, 2012, Epson Ultrachrome PRO 4880 on MDF, fiberglass, plexiglass, wood and aluminum, 23 x 17 in. Photo credit: Thelma García.
- Pablo Jansana, “Untitled Nr6, Gloria Steiman + Dorothy Pitman”, 2012, Epson Ultrachrome PRO 4880 on MDF, fiberglass, plexiglass, wood and aluminum, 23 x 17 in. Photo credit: Thelma García.
- Pablo Jansana, “Untitled Nr6, Sarah Lucas”, 2012, Epson Ultrachrome PRO 4880 on MDF, fiberglass, plexiglass, wood and aluminum, 23 x 17 in. Photo credit: Thelma García.
- Pablo Jansana, “Untitled Nr11, Hannah Hock + Til Brugman”, 2012, Epson Ultrachrome PRO 4880 on MDF, fiberglass, plexiglass, wood and aluminum, Various dimensions. Photo credit: Thelma García.
- Pablo Jansana, “Untitled Nr 3 Pina Bausch”, 2012, Epson Ultrachrome PRO 4880 on MDF, fiberglass wood and plexiglass, 23 x 17 in. Photo credit: Thelma García.
- Pablo Jansana, “Untitled Nr 3 Georgia O’Keefe”, 2012, Epson Ultrachrome PRO 4880 on MDF, fiberglass wood and plexiglass, 23 x 17 in. Photo credit: Thelma García.
- Pablo Jansana, “Untitled Nr5, Tracey Emin”, 2012, Epson Ultrachrome PRO 4880 on MDF, fiberglass, plexiglass, wood, aluminum, 23 x 17 in. Photo credit: Thelma García.
- Pablo Jansana, “Untitled Nr5, Alice Neel”, 2012, Epson Ultrachrome PRO 4880 on MDF, fiberglass, plexiglass, wood and aluminum, 23 x 17 in. Photo credit: Thelma García.
- Pablo Jansana, “Fall and Fold Solo Exhibition”, 2012, Mixed media, Variable dimensions. The Goma Gallery, Madrid. Spain, Photo credit: The Goma Gallery.
- Pablo Jansana, “W1&B1”, 2011, Resin epoxy and pigment on canvas, 102 x 59 in. Photo credit: Courtesy of artist.
- Pablo Jansana, “B1&B1”, 2011, Resin epoxy and pigment on canvas, 102 x 59 on. Photo credit: Thelma García.
- Pablo Jansana, “Fall and Fold Solo Exhibition”, 2012, Mixed media, Variable dimensions. The Goma Gallery, Madrid. Spain, Photo credit: The Goma Gallery.
Translated from Spanish
Which god, which infinite being can cease to be reduced into a single volume? For the iconoclast, the divine is indescribable, and every image of it is a lie. Precisely, the status of the image as such is the constant questioning that structures my work. Since my first exhibitions, the pop-style images began to run out, little by little, in their own repetition, until reaching present times, in which a symbolic bankruptcy of the image expropriated radically from its meaning, is defined in my most recent work. My current work is inscribed in this same process—the liberation of any symbolic association with reality. I have tried to settle in this equation, a discrete critical bias to the post-modern, which tries to idolize the maker of images in detriment of the image. The painter himself disappears and the spectator, used to the discourse of the figurative, ends up lost, facing the annulation of history and the vindication of the essential: form and color. Thus, in my work, I aim to confront certain canons of the Latin American image, through a problematization of the space: the obsession for narrative, the extreme sentimentality, the morbid fascination with the private. Opposite to that there is a constructive tension in search for something more universal, in spite of my own anxiety for harmony and thanks to an intimate conviction to my own elements.
¿Qué dios, qué ser infinito puede dejarse reducir en un sólo volumen? Para el iconoclasta, lo divino es indescriptible; y toda imagen de este, una mentira. Precisamente, el estatus de la imagen como tal es el constante cuestionamiento que estructura mi obra. Desde mis primeras muestras, las imágenes de corte pop se agotaban exhaustas, poco a poco, en su propia repetición; hasta llegar a la actualidad, en que una bancarrota simbólica de la imagen, expropiada radicalmente de su sentido, se concreta en mi obra más reciente. En este mismo proceso se inscribe mi proyecto actual: la liberación de cualquier asociación simbólica con la realidad. He intentado en esta ecuación cuajar un discreto sesgo crítico a lo post-moderno, aquel que se dedica a sacralizar al fabricante de imágenes en desmedro de la imagen. El pintor mismo desaparece y el espectador acostumbrado al discurso de lo figurativo termina extraviado frente a la anulación de la historia y la reivindicación de lo esencial: la forma y el color. Así, en mi obra pretendo a través de una problematización del espacio, confrontarme a ciertos cánones de la imagen latinoamericana: la obsesión por la narración, el sentimentalismo exacerbado, el morbo de lo privado. Frente a ellos se establece una tensión constructiva en búsqueda de algo más universal, a pesar de mi propia angustia por la armonía y gracias a una íntima convicción de mis propios elementos.
Selected Biographical Information
Education / Training
- 1994-2000: Escuela de Bellas Artes Corriente Alterna.
Prizes / Scholarships
- Medalla de Oro en la Escuela de arte Corriente Alterna(Lima, Peru).
- 2010- 2011: Beca de la Fundacion Cisneros.
Solo Exhibitions
- 2013: “IGNOTO“, Galeria Lucia de la Puente, Lima, Peru.
- 2012: “Superficies”, Galeria Luis Miroquesada Garland, Lima, Peru.
- 2011: “Concreto”, Galeria Lucia de la Puente, Lima, Peru.
- 2006: “Post”, Galeria Lucia de la Puente, Lima, Peru.
- 2005: “Boarding Pass”, Galeria Punctum, Lima, Peru.
- 2003: “Instrucción Manual”, Galeria Artco, Lima, Peru.
Group Exhibitions
- 2013: “La ultima Dacada”, Galeria icpna, Lima, Peru.
- 2013: Colectiva Galeria Fernando Pradilla, Madrid, Spain.
- 2010: Trienal de Chile, Santiago de Chile.
- 2006: “Miradas de Fin de Siglo, Transito de Imágenes”, Museo de Arte de Lima(MALI), Lima, Peru.
- 2001: “Emergencia”, Casa de America, Madrid, Spain.
Collections
- Coleccion Cisneros.
- Ella Cisneros.
- Eduardo Hoschild.
Links
- Jorge Cabieses, “S/T”, 2011, Series: Concreto, Pallets / Polyurethane paint, mirror, 50 x 111 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2011, Series: Concreto, 46.9 x 93.8 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2011, Series: Concreto, Melamine / Polyurethane paint, 65.3 x 107.6 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2012, Series: Decapitados, Tapestry and acrylic, 57.6 x 85.3 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2012, Series: Decapitados, 42.3 x 53.8 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2012, Serie : Decapitados, Tapestry and acrylic, 26.9 x 38.4 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2012, Melamine and polyurethane paint, 69.2 x 230.7 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2012, 93.8 x 256.1 cm. Cisneros Collection. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2012, Pallets, plastic, intervention on wall, 84.6 x 84.6 cm. Eduardo Hoschild Collection. Image courtesy of the artist.
- Jorge Cabieses, “S/T”, 2012, Series: transfiguraciones 25 piezas, Silkscreen on religious poster 1930, 19.2 x 26.9 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “Mirabilia 4”, 2013, Series: Mirabilia, Phenolic plywood, polyurethane paint, 46.9 x 170.7 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “Mirabilia 3”, 2013, Series: Mirabilia, Collage, silkscreen, 53.8 x 230.7 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “Mirabilia 2”, 2013, Religious poster and polyurethane paint, Variable dimensions. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “Mirabilia 3”, 2013, Intervention on poster with polyurethane paint, 50 x 69.2 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “Mirabilia 5”, 2013, Series: pieza única, Print on vinyl, 96.1 x 192.3 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “Ignoto”, 2013, Series: Unica, Plastic pallets on adhesive vinyl, 2.40 x 6.00 cm. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “Ignoto”, 2013, Series: 18 piezas, Silkscreen on touristic lithography, 32 x 37 cm. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “Ignoto”, 2013, Series: 18 piezas, Silkscreen on touristic lithography, 32 x 37 cm. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “Ignoto”, 2013, Series: 18 piezas, Silkscreen on touristic lithography, 32 x 37 cm. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “Fruto Prohibido”, 2015, Screen printing on lithographic illustrations, 27.50 x 37 cm. Site-specific project. Location: Galeria El Museo Bogota, Bogota, Colombia. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “Pinacoteca”, 2015, Folded sheets of magazines, Variable dimensions. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “S/T”, 2014, Acrylic on canvas, 2.00 cm x 3.00 cm. Site-specific project. Location: Galeria Lucia de la Puente, Lima, Perú. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “S/T”, 2014, Polyurethane on melamine plate, 1.60 x 2.20 cm. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “S/T”, 2015, Polyurethane on phenolic plywood board, 1.20 x 1.40 cm. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “S/T”, 2015, Polyurethane on melamine plate, 1.22 x 1.54 cm. Site-specific project. Location: Galeria Lucia de la Puente, Lima, Perú. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “S/T”, 2015, Polyurethane on phenolic plywood board, 1.22 x 1.54 cm. Site-specific project. Location: Galeria Lucia de la Puente, Lima, Peru. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “S/T”, 2015, Polyurethane on phenolic plywood board, 1.22 x 1.54 cm. Site-specific project. Location: Galeria Lucia de la Puente, Lima, Peru. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “Ignoto 2”, 2013, Series: unica, Polyurethane on melamine plate, 3.00 x 11.00 cm. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “Ignoto”, 2013, Series: unica, Melamine modules on digital print, Variable dimensions. Photo credit: Juan Pablo Murrugarra.
Translated from Spanish
I explore aesthetic theories through site-specific intervention and installation. I appeal to experimentation as a fundamental medium and I combine it with other traditional elements in sculpture or painting, as well as appropriation and relocation of existing cultural patrimony. The everyday image of presentations and representations I produce, are the result of these tangled combinations. My work appeals to the judgment of apparent reality. Since the last few years I have been working intensively with installations and interventions, meaning that I work mainly in specific exhibition spaces. The works are conceptually materialized within and from the place where they will be exhibited. In my work, the de-codification of the space is clearly a place of departure. Sometimes this approach within the exhibition context helps to propose something new and other times to adapt a preexisting idea that works in the space. As modus operandi, I am interested not in forcing ideas nor relationships between them and the place. It is fundamental to perceive and understand the environment, establish and mature the works to then proceed to measure time between both parts. Whichever the process is in each case, it is always necessary to establish a relationship with the place before beginning the work process. In my work, I use the edition of recognizable objects and their symbolic charge to configure a new language. Truthfully, I think about objects as letters that allow me to make words that did not exist before this combination that I propose. In turn, the objects used also retain their initial aural signifier, issue that is not a minor factor in the decision of its use. There is a net of meanings and signifiers that structure each piece. I also write. I began to do it simultaneous to my first installations since it helped to put into words the research process as it was happening and, above all, taking into account that the work was going to be destined to disappear after the exhibition. Something similar happened with the Sauna-revista de arte texts. For me, to be critical is not only to think about the work of somebody else or an idea in particular. The act of writing helps me to re-read my work in relation to what I am speaking about. The questions I have as an artist are not the same as the ones I have when I produce a text. Clearly, I do not consider myself an art critic, but writing about what happens around me also functions as the research for my work.
Me dedico a la exploración de teorías estéticas a partir la intervención y la instalación de sitio específico. Apelo a la experimentación como medio fundamental y la combino con otros elementos de tradición escultórica y/o pictórica, así como también con la apropiación y reubicación de bienes culturales existentes. La imagen de cotidianidad de las presentaciones y representaciones a las que llego, son el resultado de tan entramadas combinaciones. Mi labor apela al juicio sobre la realidad aparente. En los últimos años vengo trabajando intensamente en instalaciones e intervenciones, quiero decir que trabajo mayormente a partir de los espacios de exhibición concretos. Las obras se materializan conceptualmente en y desde el lugar donde van a exhibirse: en mi obra la decodificación del espacio es claramente un punto de partida. Algunas veces esa aproximación con el contexto de exhibición sirve para plantear algo nuevo y otras veces para adaptar alguna idea preexistente que funciona con el lugar. Como modo de operar me interesa no forzar ideas ni relaciones entre ellas y el lugar. Percibir y entender el entorno, asentar y madurar las obras para luego medir el tiempo entre ambas partes es algo fundamental. Pero sea como sea el desarrollo específico de cada caso, siempre es necesario establecer una relación con el lugar antes de empezar el proceso de trabajo. Por otro lado, en mis obras utilizo la edición de objetos reconocibles y de su carga simbólica para configurar un lenguaje nuevo. En realidad, pienso a los objetos como letras que me permiten armar palabras que no existían antes de esta combinación que propongo. A su vez, también los objetos usados conservan su aura significante inicial, cuestión que no es menor en la decisión de su uso. Hay una red de significados y significantes que estructuran cada pieza. También escribo. Comencé a hacerlo en simultáneo con mis primeras instalaciones, me servía poner en palabras el proceso de la investigación a medida que iba sucediendo y, sobretodo, teniendo en cuenta que la obra estaba destinada a desaparecer luego de su exhibición. Con los textos de Sauna-revista de arte pasa algo parecido. Para mi hacer una crítica no es solamnete pensar la obra de alguien o pensar alguna idea en particular, ese acto de escritura fundamentalmente me sirve para releer mi trabajo en relación a eso de lo que estoy hablando. Las preguntas que tengo como artista son las mismas que manifiesto cuando produzco un texto. Está claro que no me considero un crítico de arte pero escribir sobre lo que sucede en mi entorno también me sirve como parte de la investigación de lo que hago, de la investigación de mi obra.
Selected Biographical Information
Education / Training
- 2001-2005: Lic. en Artes Visuales, orientación en Escultura – IUNA. Buenos Aires, Argentina.
- 2000-2001: Caracterizador Escénico – Instituto del Teatro Colón. Buenos Aires, Argentina.
- 1995-2000: Dibujante Publicitario, Técnico en Publicidad – E.T. 15 “Maipú”. Buenos Aires, Argentina.
Prizes / Fellowships
- 2013: Premio estímulo de la Fundación Castagnino para artistas emergentes del XVII Salón Nacional de Rosario Castagnino-MACRO.
- 2013: Mención especial II Premio Lucio Fontana, Buenos Aires, Argentina.
- 2012-2013: Premio Itaú Cultural, Buenos Aires, Argentina.
- 2012: Salón Nacional de Pintura del Banco Nación en la Casa del Bicentenario.
- 2012: Segundo premio del 101º Salón Nacional de Artes Visuales en Nuevos soportes e instalaciones en el Palais de Glace.
- 2010-2011: Premio del Centro Cultural de España en BA de artistas jóvenes en el Palais de Glace y Centro Cultural Parque España Rosario.
Solo Exhibitions
- 2012: “Suite en 3 actos: presentación, auge y caída”, La Ira de Dios, Buenos Aires, Argentina.
- 2012: “La Consulta”, Nora Fisch Arte Contemporáneo, Buenos Aires, Argentina.
- 2011: “Collages y colaboraciones”, Barraca Vorticista, Buenos Aires, Argentina.
- 2009: “El Techo”, Centro Cultural de España en BA, Buenos Aires, Argentina.
- 2009: “El Capricho”, ThisIsNotAGallery, Buenos Aires, Argentina.
- 2008: “Sin título (publicidad exterior)”, Intervención urbana, Buenos Aires, Argentina.
- 2008: “Habitación”, Humboldt 1564, Palermo, Buenos Aires, Argentina.
Group Exhibitions
- 2013: “Riña de gallos”, Rusia Galería, Tucumán, Argentina.
- 2013: “Espacios parasitados”, Espacio de Arte Universidad Católica Argentina, Buenos Aires, Argentina.
- 2012: “Fuen7e”, Lordi Arte Contemporáneo, Buenos Aires, Argentina.
- 2011: “Habitat”, Nora Fisch Arte Contemporáneo, Buenos Aires, Argentina.
- 2010: “Exit/Salida 3ª ed.”, Barraca Vorticista, Buenos Aires, Argentina.
- 2009: “Diálogo”, Fondo Nacional de las Artes, Buenos Aires. Festival Visual Brasil, Barcelona, Spain.
- 2009: “Coronal”, Braga Menéndez Arte Contemporáneo, Buenos Aires, Argentina.
- 2009: “Holyhome”, See you at home, Artist studio, London, UK.
- 2008: “La forma absurda”, La Munich contemporánea, Dir. Gral. de Museos de la Ciudad, Buenos Aires, Argentina.
- 2008: “Poética intimista en un espacio que no le corresponde”, WarClub Appetite, Buenos Aires, Argentina.
Publications
- SAUNA revista de arte. Editor y co-fundador. Buenos Aires, Argentina. Agosto 2010/2013. www.revistasauna.com.ar
- Premio CCEBA de arte joven argentino. Buenos Aires, Argentina. 1era ed. Octubre 2010. www.cceba.org.ar RAMONA 100.
- Poéticas. Buenos Aires, Argentina. Mayo 2010. www.ramona.org.ar LATE (los artistas también escriben), Guido Ignatti. Buenos Aires, Argentina. Mayo 2009. www.proyecto-late.blogspot.com
Links
- Guido Ignatti, “Parquet #1 y #2”, 2013, Series: Parquet, Sectioned rubber tiles, 55 x55 cm each. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Pintura”, 2013, Wood frames for linen cloths and fluorescent illumination, 100 x 200 cm. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Pintura y tapiado para una ventana inexistente”, 2012, Wood, paint and fluorescent lighting + projection of slides, 110 x 150 x 12cm + projection 70 x 20 cm. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Puesta o Caída”, 2012, Series: Capturas en la rutina de alguien, Wooden blinds, light projection, paper and mirror, 150 x 120 x 50 cm. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Simulación (farsa)”, 2012, Pintura acrílica sobre capitoné encontrado de baja calidad, 34 x 142 cm. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Caja ciega”, 2010, Wood packaging intervened with wood trim and paint, 90 x 74 x 33cm, Photo credit: Courtesy of the artist.
- Guido Ignatti, “Suite en 3 actos: presentación, auge y caída”, 2012, Carteles de vía pública intervenidos con afiches publicitarios invertidos, Variable dimensions. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Espacio #1 y #2”, 2012, Series: La Consulta, acrílico sobre madera velado con vidrio martelé, 50 x 70 cm each. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Sin título (Moldura Lozza)”, 2010, Durlock, moldings and wood on the floor, 80 x 40 cm. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Impresión”, 2010, Wood, paper, and projection with slides, 120 x 240cm + 230 cm distance between projector and wall. Photo credit: Courtesy of the artist.
- Guido Ignatti, “El techo”, 2009, Paper on the wall and expanded polystyrene moldings on the ceilings of two public bathrooms, Variable dimensions. CCEBA, Photo credit: Courtesy of the artist.
- Guido Ignatti, “El Capricho”, 2009, Painting and lighting in a shed + Video Color 3 ’08”, Variable dimensions. ThisIsNotAGallery, Photo credit: Courtesy of the artist.
- Guido Ignatti, “Diálogo”, 2009, Paint on graffiti + Video Color 2’ 46’’, Unspecified dimensions, Moreno esq. Bolivar, Capital Federal, Buenos Aires, Photo credit: Courtesy of the artist.
- Guido Ignatti, “La forma absurda”, 2008, Vinyl paint on vinyl canvas, cement and vines, 105 x 405 x 85 cm, Munich DGM, Photo credit: Courtesy of the artist
- Guido Ignatti, “Pared y ventana #1, #2 y #3”, 2013, Series: Pared y ventana, Collage veiled painted ribbed glass, 83 x6 2cm each. Photo credit: Courtesy of the artist.
Translated from Spanish
I develop my work through photography, collage, objects and installation, and it comprises an analysis of concepts of inequality, architecture, and spectacle in Chile in the last twenty years—Chile after the dictatorship. In this sense, it presumes an aesthetic reflection of the consequences of the “neoliberal revolution,” imposed on Chile during the ‘80s, and its projection on the social and cultural field since then until this day. In the series Spike Drawings, 2010-2013, I make a type of drawing on the wall with simple geometric shapes such as squares, rhomboids, etc., which is constructed with a metal material that is used as protection on the walls of middle and high class houses in Santiago de Chile. The wall protections are very sharp and comply with the fight against crime and the protection to private property. These works describe the segregation and social divisions, confinement and limitations, in a very simple way, using basic but eloquent shapes such as the square, which is the simplest act of delimitation in geometry. These works also refer to a tradition in modern art linked to Constructivism, geometric abstract art and minimalism. In this sense, it is a series that joins an extreme formalism of minimal shapes, with social content.
Mi trabajo desarrollado en fotografía, collage, objeto e instalaciones, comprende una reflexión en torno a los conceptos de trabajo, desigualdad, arquitectura y espectaculo en el Chile de los últimos 20 años; en el Chile de la postdictadura. En este sentido, supone una reflexión estética sobre las consecuencias de la “revolución neoliberal” implantada en Chile durante los años 80´s y su proyección en el campo social y cultural desde entonces hasta ahora. En la serie “Spike drawings” (2010-2013) realizo un tipo de dibujo sobre la pared con formas geométricas simples -cuadrados, rombos, etc- que están construidos con un material de fierro que se usa como protección en los muros de las casas de gente clase media y media alta en Santiago de Chile. Las protecciones de muro son muy filosas y remiten a la lucha contra la delincuencia así como a la protección de la propiedad privada. Estos trabajos hablan de segregación y división social, de encierro y de límites, de una manera muy simple, usando formas muy básicas y elocuentes como el cuadrado que es el acto geométrico más simple de delimitación. Estos trabajos, hacen referencia también, a cierta tradición del arte moderno vinculada al constructivismo, al arte abstracto geométrico y al minimalismo. En este sentido, es una serie que vincula un formalismo extremo, de formas mínimas, con un contenido social.
Selected Biographical Information
Education / Training
- 1998: BFA, University of Chile, Santiago, Chile.
Prizes / Fellowships
- 2007: Beca Guggenheim, John Simon Guggenheim Memorial Foundation, New York, USA.
Solo Exhibitions
- 2014: “Proyecto Lanz”, Flora Ars Natura, Bogotá, Colombia.
- 2013: “Progreso”, Museo de Arte Contemporáneo de Santiago MAC, Santiago, Chile.
- 2012: “Postdictadura”, Bienal de fotografía de Lima, Centro de la Imagen, Lima, Peru.
- 2012: “Ultramar Sur”, Paco das Artes, Sao Paulo, Brazil.
- 2011: “Máxima tensión”, Galería Baró, Sao Paulo, Brazil.
- 2008: “Santiago dérive”, Stiftung DKM, Duisburg, Germany.
Group Exhibitions
- 2014: “Beyond the Supersquare”, The Bronx Museum of the Arts, New York, USA.
- 2014: “Slow Future”, Centre for Contemporary Art Ujazdowski Castle, Warsaw, Poland.
- 2013: “Emergency Pavilion: Rebuilding Utopia”, 55th International Art Exhibition la Biennale di Venezia, Italy.
- 2011: “Terrible Beauty-Art, Crisis, Change & The Office of Non-Compliance”, Dublin Contemporary 2011, Dublin, Ireland.
- 2011: XI Bienal de Curitiba, Museo Oscar Niemayer, Curitiba, Brazil.
- 2011: “Now: obras La Colección Jumex”, Centro Cultural Hospicio de la Cabaña, Guadalajara, Mexico.
- 2009: X Bienal de la Habana, La Habana, Cuba.
Publications
- 2013: “Progreso/Progress”, libro publicado por el Museo de Arte Contemporáneo de Santiago. Textos de Christian Viveros-Fauné & Alma Ruiz.
- 2009: “Proyecto de arquitecturas revestidas para la ciudad de Santiago”, libro publicado por Ediciones UDP, Santiago. Textos de Guillermo Machuca & Marco Scotini.
- 2008: “Santiago Derive”, catálogo publicado por la Fundación DKM, Duisburg, Germany.
- 2006: “Objetos en Tránsito (Dario Escobar & Patrick Hamilton)”, catálogo publicado por la Fundación Gasco en Santiago. Textos de Victor Zamudio-Taylor & Isolde Brielmaier.
- 2004: “Patrick Hamilton en la 26 Bienal de Sao Paulo”, libro publicado por el Ministerio de Relaciones Exteriores de Chile. Texto de Guillermo Machuca.
Collections
- Fundación / Colección Jumex, Mexico City, Mexico.
- El Museo del Barrio, New York, USA.
- Museo DKM, Duisburg, Germany.
- Izolyatsia Foundation, Donetsk, Ukraine.
- Museum of Latin American Art (MOLAA), Long Beach, CA, USA.
- Sayago & Pardon Collection, Irvine, CA, USA.
- Patrick Hamilton, “Intersección”, 2013, Steel spike wall protections, 280 x 1130 x 7 cm. Museum of Contemporary Art, Santiago, Chile. Photo credit: Museum of Contemporary Art, Santiago.
- Patrick Hamilton, Detail of “Intersección”, 2013, Steel spike wall protections, 280 x 1130 x 7 cm. Museum of Contemporary Art, Santiago, Chile. Photo credit: Museum of Contemporary Art, Santiago.
- Patrick Hamilton, “Patria y Libertad”, 2012, Steel spike wall protections, 150 x 220 cm. Museum of Contemporary Art, Santiago, Chile.
- Patrick Hamilton, “Copper Diamond”, 2011, Steel spike wall protections plated in copper, 140 x 140 cm. Museum of Contemporary Art, Santiago, Chile. Photo credit: Baró Gallery, São Paulo.
- Patrick Hamilton, “Square Composition”, 2011, Steel spike wall protections, 210 x 650 x 7 cm. Dublin Contemporary 2011. Photo credit: Dublin Contemporary and Renato Ghiazza.
- Patrick Hamilton, “Handsaws Construction”, 2013, 64 copper handsaws, 3.8 m diameter, Site-specific project. Location: Emergency Pavilion: Rebuilding Utopia, 55th Venice Biennial, Italia. Photo credit: Baró Gallery, Sao Paulo.
- Patrick Hamilton, “Chuzo”, 2012, Steel, enamel, 161 x 40 x 3 cm each, Site-specific project. Location: Museum of Contemporary Art, Santiago. Photo credit: Baró Gallery, Sao Paulo.
- Patrick Hamilton, “Machetes construction”, 2010, 120 steel machetes, installation, 5 m, Site-specific project. Photo credit: Baró Gallery, Sao Paulo.
My work encompasses site-specific installations, sculpture and video to works on paper. In these works, issues of urbanization, transformation, regeneration, escape, collapse and nomadic existence have been predominant. While the work in the drawing studio serves as a means for a more intimate exploration of these issues, the foundation of my larger scale work lies in the alteration of found and recycled materials and environmental debris, often on site (including such source materials as books and printed matter, empty tins, old tires, bicycles, boat parts and building construction fragments) that are often altered to create sculptural objects and architectural spaces. These works take the visual form of functional objects while stripping them of their productivity to address notions of labor and utility, forcing an examination of our understanding of culturally specific forms while simultaneously exploiting and adapting their particular codes and associations.
Traducido del inglés
Mi obra abarca instalaciones de sitio específico, escultura y video hasta obra en papel. En estas obras, temas de urbanización, transformación, regeneración, escape, derrumbe y existencia nómada han sido predominantes. Mientras que el trabajo en el estudio de dibujo sirve como una forma más íntima de exploración de estas ideas, la base de mi obra a gran escala está en la alteración de materiales encontrados y reciclados y desechos ambientales, a menudo in situ (incluyendo fuentes como libros y material impreso, latas vacías, llantas viejas, bicicletas, partes de barco y fragmentos de construcción), que son a menudo modificados para crear objetos esculturales y espacios arquitectónicos. Estas obras toman la forma visual de objetos funcionales mientras que los despojan de su productividad para abordar nociones de labor y utilidad, forzando un análisis de nuestro entendimiento de formas culturalmente específicas, mientras que explotamos y adaptamos sus códigos y asociaciones particulares.
Selected Biographical Information
Education / Training
- 2000: Bard College, BA.
- Skowhegan School of Painting and Sculpture.
Prizes / Fellowships
- 2012: MACRO RESIDENCY, Rome.
- 2011: New York Foundation for the Arts (NYFA).
- 2010: ART OMI Residency, OMI, New York, USA.
- 2009-10: Marie Walsh Sharpe Foundation ‘space program’, New York, USA.
- 2008: ART MATTERS foundation, New York, USA.
- 2009: Residencia La Curtiduria, Oaxaca, Mexico.
- 2008: Residencia Kiosko, Santa Cruz, Bolivia.
- 2008: Sculpture Space, Utica, NY, USA.
- 2007: Mención Honorífica, IX Bienal De Cuenca, Ecuador.
- 2007: Skowhegan School of Painting and Sculpture, Maine, USA.
- 2005-6: Foundation for Contemporary Arts, New York, USA.
- 2003: Vermont Studio Art Center, Vermont Beca.
Solo Exhibitions
- 2013: “Cuts, Burns, Punctures”, Drawing Center, New York, USA.
- 2013: “Quoin”, Eleven Gallery, New York, USA.
- 2012: “Parquette”, MACRO (museum of contemporary art Rome), Italy.
- 2010: “Aún Sin Titulo I”, Galería Revolver, Lima, Perú.
- 2010: “Aún Sin Titulo II”, Espacio Ex-Culpable, Lima, Perú.
- 2010: “Maquette For Landscape”, Galería Federica Schiavo, Roma, Italy.
- 2010: “Un Muro de Tochos”, Galería Arróniz Contemporáneo, Mexico, DF, Mexico.
- 2009: “Ishmael Randall Weeks”, Galería Eleven Rivington, New York, USA.
- 2008: “Refugio”, Galería Lucia De La Puente, Lima, Perú.
- 2008: “Experimentos, Camuflajes y Bunkers”, Galería Kiosko, Santa Cruz, Bolivia.
Group Exhibitions
- 2013: “Migrating Identities”, Yerba Buena Center for the Arts, San Francisco, California (Curator: Betti-Sue Hertz).
- 2013: “Panorámica”, Museo Palacio de Bellas Artes, México DF, Mexico.
- 2013: “Arte Al Paso. Colección Contemporánea del Museo de Arte de Lima”, Museo Banco de la Republica, Bogotá, Colombia.
- 2012: “The Camino Real Arcades”, AMIL space, Lima (Curator: Pablo Leon de la Barra).
- 2012:“The Peripatetic School: Itinerant drawing from Latin America”, Banco De la Republica, Bogotá, Colombia. (Curator: Tanya Barson).
- 2012: “S-Files Bienal”, Museo del Barrio, New York, USA. (Curators: Elvis Fuentes, Trinidad Carillo).
- 2010: “Greater New York”, MOMAPS1, New York, USA. (Curators: Klaus Biesenbach, Connie Butler, Neville Wakefield).
- 2010: “Planet of Slums”, Third Screening, NYC (Curadores: Omar Lopez-Chahoud & LaToya Ruby Frazier).
- 2010: “El Comienzo del Fin”, Patricia Ready Galeria, Santiago, Chile (Curator: Revolver Galeria).
- 2010: “Lush Life”, Collete Blanchard Gallery, NYC (Curators: Omar Lopez-Chahoudy Franklyn Evans).
- 2010: “Does the Angle Between Two walls have a happy Ending?”, Galeria Federica Schiavo, Rome, Italy (Curator: Ishmael Randall Weeks).
Publications
- Tanya Barson, Isobel Whitelegg, Pablo Leon de la Barra & Moacir Dos Anjos, “The Peripatetic School: Itinerant Drawing from Latin America”, Ridinghouse, 2011.
- Sigismond de Vajay & André Baldinger, “Of Bridges and Borders”, JRP-Ringier.
- Toit Du Monde & KBB, EBS, Editoriale Bortolazzi Stei srl, Pg 253-67.
- Cynthia Hahn, Amy Levin “Objects of Devotion and Desire” Hunter College Press, Pg 16, 66-67, 2011.
- Christopher Von Ginhoven, “A Vailed Intimacy”, Catalogue for “Bruma” at 20 Hoxton square Gallery, London. 20 Hoston Square and Revolver Gallery, 2011.
- Klaus Biesenbach, Connie Butler, Neville Wakefield, “Greater New York 2010”, MoMa PS1, pg. 112-13 & 162-63, 2010.
- David McFadden, “Slash: Paper Under the Knife”, Museum of Arts and Design & 5 Continents Editions, pg. 184-87, 2009.
- Lauren Cornell, Massimiliano Gioni, Laura Hoptman, “Younger Than Jesus: Artist Directory” The New Museum and Phaidon Press, pg. 507, 2009.
- X Bienal de la Habana, “Integración y Resistencia en la era Global”, Centro de Arte Contemporaneo Wilfredo Lam, La Havana, Cuba, pg. 454-55, 2009.
- Armando Williams, “Visiones del Arte Contemporaneo en el Perú” Galeria Lucia de la Puente, Lima, Perú, 2008.
- Miguel Zegarra-Jorge Villacorta, “La Construcción del Lugar Común” Museo De Arte Contemporaneo, Lima, Perú, 2008.
- IX Bienal de Cuenca, “Espacios, Tiempos Identitarios” Bienal de Cuenca, Ecuador, pg. 64-67 2007.
- Rodrigo Quijano, ‘Llámenme Ishmael: Notas sobre Balances y Tensiones en la Obra de Randall Weeks’, Catalogue for Estructuras, Simulacros, ICPNA, Lima, Perú, 2006.
- Jorge Villacorta, Augusto Del Valle, Miguel López, Sharon Lerner, Paulo Dam, Luis Alvarado, “Post-Illusiones. Nuevas Visiones, Arte Critico en Lima (1980-2006)” Fundación Wiese, pg. 113, 2006.
Collections
- Lima Art Museum (MALI).
- JUMEX Collection.
- Middlesbrough Institute of Modern Art (MIMA).
- Museo d’Arte Contemporaneo, Roma (MACRO).
- Madeira Corporate Services Collection, Portugal (curator Adriano Pedrosa).
- Albright-Knox Gallery.
- Deutsche Bank Collection (Liz Christensen, curator).
- Ishmael Randall Weeks, “Mapping”, 2012, Parquet from all around the world, glue and iron, 130 x 310 x 120 cm. Photo credit: Giorgio Benni.
- Ishmael Randall Weeks, “IBeam”, 2013, Brick dust, debris and resin, 180 x 25 x 25 cm. Photo credit: Camila Rodrigo.
- Ishmael Randall Weeks, “12 Dias”, 2013, 12 days of newspapers from Lima, Cola, 210 x 10 x 5 cm. Photo credit: Camila Rodrigo.
- Ishmael Randall Weeks, “Wall”, 2012, Bricks, cement and iron, 185 x 100 x 58 cm. Photo credit: Giorgio Benni.
- Ishmael Randall Weeks, “Trepanacion”, 2013, Rubber from a tree and bronze, 80 x 50 x 50 cm. Photo credit: Camila Rodrigo.
- Ishmael Randall Weeks, “Quoin”, 2013, Cut photo transfers, polished newspaper and wood table, Variable dimensions.
- Ishmael Randall Weeks, “Trinita’DeiMonti”, 2012, Photo transfers on cardboard and cut aluminum, Variable dimensions, Photo credit: Giorgio Benni.
- Ishmael Randall Weeks, “Mercado”, 2008, Mirrors and wood, Variable dimensions. Photo credit: Courtesy of the artist.
- Ishmael Randall Weeks, “Frame 1”, 2012, Glass and frames from the 50s, 50 x 42 x 3 0cm. Photo credit: Giorgio Benni.
- Ishmael Randall Weeks, “EUR”, 2012, Photo collage, 140 x 31 x 8 cm. Photo credit: Photo Giorgio Benni.
- Ishmael Randall Weeks, “Landscape Intersection”, 2010, Carved books, wood and iron, 180 x 300 x 300 cm. Photo credit: Giorgio Benni.
- Ishmael Randall Weeks, “Landscape Carving”, 2008, Carved architectural plans, 120 x 90 x 140 cm. Photo credit: John Taylor.
- Ishmael Randall Weeks, “Lucio Costa”, 2007, Collage, 35 x 35 cm.
- Ishmael Randall Weeks, “Le Corbusier 2”, 2007, Collage, 45 x 35 cm.
- Ishmael Randall Weeks, “Netting”, 2007, Camara de Llanta tallada, Variable dimensions.
My visual rearrangements draw upon the paradoxical bond between architecture –a language of construction par excellence-with that of destruction and dislocation. In rearranging various materials I seek a potential poetics – a kind of cartography of social oblivion –that is simultaneously exposing but also recovering scattered fragments of an unrealized utopian project.
Traducido del inglés
Mis composiciones visuales recurren a la paradójica unión entre la arquitectura (un lenguaje de construcción por excelencia) con la destrucción y la dislocación. Al reconfigurar estos diferentes materiales busco una potencial poética, una especie de cartografía del olvido, que simultáneamente revela y también recobra fragmentos desperdigados de un proyecto utópico frustrado.
Selected Biographical Information
Education / Training
- 1983: Escuela de Grabado de Montevideo CGM, Montevideo, Uruguay.
- 1981: Taller de Artes Plásticas Guillermo Fernández. Montevideo, Uruguay.
- 1977: Facultad de Arquitectura, Universidad de la República. Montevideo, Uruguay.
Prizes / Fellowships
- 2004: New York Foundation for the Arts Fellowship, New York, USA.
- 2000: Pollock-Krasner Foundation Grant, New York, USA.
- 1986: Beca Paul Cezanne, Ministerio de Asuntos Extranjeros de Francia.
- 1986: XXXIV Salón Municipal de Montevideo. Montevideo, Uruguay.
- 1986: Premio honorario, II Bienal de la Habana, Habana, Cuba.
Solo Exhibitions
- 2013: “Obra reciente”, Nora Fisch Galeria, Buenos Aires, Argentina.
- 2013: “El estado de las cosas”, Museo Gurvich, Montevideo, Uruguay.
- 2013: “Paradoxes”, Josee Bienvenu Gallery, New York, USA.
- 2012: “Other Impertinences”, Alejandra von Hartz, Miami, USA.
- 2012: “Time Again Time”, Point of Contact, Syracuse, New York, USA.
Group Exhibitions
- 2012: “Esa Vara. Modernity and emplacement”, MADC, San Jose, Costa Rica.
- 2007: “The Disappeared”, El Museo del Barrio, New York, USA.
- 2006: IX Bienal de la Habana, “Dinamicas de la cultura urbana”, Havana, Cuba.
- 2005: “The Disappeared”, The North Dakota Museum of Fine Art, North Dakota. USA.
- 2002: III Bienal de Lima, Uruguayan representative, Lima, Peru.
Publications
- Bernard, Catherine. Fractures, Report on the State of Things. Catalog of exhibition.
- El estado de las cosas. Museo Gurvich, Montevideo, Uruguay, 2013.
- Rangel, Gabriela Low News.catalogue of exhibition Sin Aviso, 2005 CCE, Montevideo, Uruguay.
- Peluffo, Gabriel. Anna Tiscornia. III Bienal de Lima. Catalogue of Exhibition. Peru, 2002.
- Rangel, Gabriela Ana Tiscornia (interview) Arte al Día International, #140 2012.
Collections
- Museo Nacional de Artes Visuales, Montevideo, Uruguay.
- Museo Municipal de Bellas Artes, Juan Manuel Blanes Montevideo, Uruguay.
- The Illinois Holocaust Museum and Education Center, Chicago, USA.
- Teor/etica, San Jose, Costa Rica.
- Museo de la Solidaridad Salvador Allende, Santiago, Chile.
Links
Ana Tiscornia / Other impertinences
- Ana Tiscornia, “Situation”, 2007, Cardboard and paper tape, Dimensions variable. Artist’s studio. Photo credit: Courtesy of the artist.
- Ana Tiscornia, “Situation #2”, 2007, Cardboard, wood, paint, newspaper and paper tape, 10 x 20 x 11 in. Alejandra von Hartz Gallery, Miami. Photo credit: Courtesy of the artist.
- Ana Tiscornia, “The House in the Square”, 2003, Mixed media on paper, 23 x 16 in. Josée Bienvenu Gallery, New York. Photo credit: Courtesy of the artist.
- Ana Tiscornia, “Green Wall Paper”, 2007, Mixed media on paper, 19 x 13 in. Allegra Ravizza Art Project, Milan. Photo credit: Courtesy of the artist.
- Ana Tiscornia, “The Fact of the Matter”, 2011, Cardboard, paper, paint and fabric on chair head, 14 x 15 x 13 in. Galería El Paseo, Uruguay. Photo credit: Courtesy of the artist.
- Ana Tiscornia, “The Fact of the Matter III”, 2011, Cardboard, paint, paper and wood, Dimensions variable. Artist’s studio. Photo credit: Courtesy of the artist.
- Ana Tiscornia, “To Be Precise”, 2011, Acrylic on canvas, 48 x 72 in. Artist’s studio. Photo credit: Courtesy of the artist.
- Ana Tiscornia, “The Green Line”, 2012, Acrylic on canvas, 48 x 72 in. Sayago & Pardon Collection. Photo credit: Courtesy of the artist.
- Ana Tiscornia, “To Be Precise 2”, 2011, Acrylic on canvas, 68 x 66 in. Alejandra von Hartz Gallery, Miami. Photo credit: Courtesy of the artist.
- Ana Tiscornia, “En Breve”, 2013, Cardboard, paint, paper, and plastic mesh, 54 x 20 x 3 in. Nora Fisch Gallery, Buenos Aires. Photo credit: Courtesy of the artist.
- Ana Tiscornia, “Fourth and Final Step”, 2012, Cardboard, paint, paper, and plastic mesh, 120 x 84 x 4 in. Jorge Merez Collection, Miami. Photo credit: Courtesy of the artist.
- Ana Tiscornia, “Three Days”, 2012, Acrylic on canvas, cardboard, wood, paint and fabric, 38 x 95 x 13 in. Josee Bienvenu Gallery, New York. Photo credit: Courtesy of the artist.
- Ana Tiscornia, “Deshabitaciones 3”, 2013, Acrylic on canvas, cardboard, paint, plastic mesh and paper, 39 x 73 x 4 in. Nora Fisch Gallery. Photo credit: Courtesy of the artist.
- Ana Tiscornia, “On the Edge”, 2013, Acrylic on canvas, cardboard, paint, plastic mesh and paper, 36 x 52 in. Galería El Paseo, Uruguay. Photo credit: Courtesy of the artist.
- Ana Tiscornia, “Following the Steps”, 2011, Acrylic on canvas, cardboard, paint, plastic mesh and paper, 44 x 98 x 6 in. Alejandra von Hartz Gallery.
Translated from Spanish
My interest on abstraction began approximately in 2006, as a result of a refusal to keep representing problems and situations linked to Colombian identity within my individual artistic process—thematic axis that I explored in my works since 1999 and from which I proposed various mediums such as installation, printing and painting. Since 2007 I began a series of projects in which I decided to produce works about the relevance of the international style, i.e., the great boom that the modern architecture movement has had since its origins in the second decade of last century in Europe, aiming to develop post-colonial and transcultural positions from the proposals in which I juxtapose different historical urban periods around the world, with the purpose of highlighting the overwhelming aspect of the modernist movement and vice versa.
Mi interés por la abstracción vino a darse hacia 2006 a raíz de un rechazo a seguir representando problemas y situaciones vinculadas a temas de identidad colombiana dentro de mi proceso individual como artista, eje temático que identificó mis trabajos desde 1999 y el cual planteé desde varios medios como la instalación, el grabado y la pintura. A partir de 2007 inicié una serie de proyectos en los que me propuse elaborar trabajos sobre la relevancia del estilo internacional, es decir, el gran auge que ha vivido el movimiento moderno de arquitectura desde que se inició en la segunda década del siglo pasado en Europa, buscando de esa manera desarrollar posiciones poscoloniales y transculturales desde propuestas en las que yuxtapongo diferentes periodos históricos urbanos alrededor del mundo con el fin de resaltar el carácter avasallador del movimiento moderno y viceversa.
Selected Biographical Information
Education / Training
- 2008-2009: MA Fine Art, Central Saint Martins College of Art and Design, London, UK.
- 1996-2000: Maestro en Artes Plásticas, Universidad Nacional, Bogotá, Colombia.
Prizes / Fellowships
- 2009: Distinction, MA Fine Art, Central Saint Martins College of Art and Design, London, UK.
- 2004: Mención Laureada, Trabajo de Grado Frutos, Universidad Nacional, Bogotá, Colombia.
- 2001: Premio Mejores Trabajos de Grado, Área VII, Universidad Nacional, Bogotá, Colombia.
- 1998: Premio, 4to Salón Nacional de Arte Universitario, Bogotá, Colombia.
Solo Exhibitions
- 2012: “ODAM 10 Proyectos”, Nueveochenta Arte Contemporaneo, Bogotá, Colombia.
- 2011: “Oficina de Diseño de Arquitectura Moderna”, Nueveochenta Arte Contemporaneo, Bogotá, Colombia.
- 2010: “Entre Siglos”, Alberto Sendros Galería, Buenos Aires, Argentina.
- 2010: “1900-5100”, Nueveochenta Arte Contemporaneo, Bogotá, Colombia.
- 2007: “Paisaje”, Fundación Gilberto Alzate Avendaño, Bogotá, Colombia.
- 2007: “El Cielo Con Las Manos”, Nueveochenta Arte Contemporaneo, Bogotá, Colombia.
- 2005: “Covers”, Galería Sextante, Bogotá, Colombia.
- 2005: “Señales”, Galería Casas Riegner, Bogotá, Colombia.
- 2005: “Señales”, Museo de Arte Moderno de Bucaramanga, Bucaramanga, Colombia.
- 2002: “Subdesarrollado”, Alianza Colombo-Francesa, Bogotá, Colombia.
Group Exhibitions
- 2013: “Paper Thin”, Bearspace, London, UK.
- 2012: “Una Línea de Polvo: Arte y Drogas”, El Centro de Expresiones Contemporáneas Paseo de las Artes y el Río Paraná, Rosario, Argentina.
- 2012: “Poetas en Tiempos de Escasez”, El Parqueadero-Museo de Arte del Banco de la República, Bogotá, Colombia.
- 2012: ARCO-Solo Projects: Focus Latinoamérica, Madrid, Spain.
- 2011: “Maraloto”, Museo de Arte del Banco de la República, Bogotá, Colombia.
- 2011: “Sobre el Territorio: Arte Contemporaneo en Colombia”, Museo Santralistanbul, Istanbul, Turkey.
- 2011: “Sobre el Territorio: Arte Contemporaneo en Colombia”, Cermodern, Ankara, Turkey.
- 2010: “Puntos Suspensivos”, Museo Diego Rivera, Guadalajara, Mexico.
- 2009: “Future Map 09”, 20 Hoxton Square, London, UK.
- 2008: “Otras Floras”, Galería Nara Roesler, Sao Paulo, Brazil.
Publications
- 2012: Transpolítico-Arte en Colombia 1992-2012, Lunwerg, Madrid, Spain.
- 2010: The Catlin Guide-New Artists in the UK, Catlin Holdings Limited, London, UK.
- 2007: Jaime Tarazona, Programa Enfoques, Banco UBS, Bogotá, Colombia.
Collections
- Banco Itaú, Bogotá, Colombia.
- Jaime Tarazona, “Gold Washing in the Brazils”, 2008, Acrylic on engraving, 24 x 18 cm. Photo credit: Courtesy of the artist.
- Jaime Tarazona, “Pilori a Charing Cross”, 2009, Acrylic on engraving, 15 x 23 cm. Photo credit: Courtesy of the artist.
- Jaime Tarazona, “La Cumbre”, 2008, Acrylic on engraving, 15 x 24 cm. Photo credit: Courtesy of the artist.
- Jaime Tarazona, “Nanking”, 2009, Acrylic on engraving, 16 x 21 cm. Photo credit: Courtesy of the artist.
- Jaime Tarazona, “Harbour of Rio Janeiro”, 2008, Acrylic on engraving, 12 x 15 cm. Photo credit: Courtesy of the artist.
- Jaime Tarazona, “América 1”, 2010, Adhesive vinyl on map, 67 x 47 cm. Photo credit: Courtesy of the artist.
- Jaime Tarazona, “América 15-20”, 2010, Adhesive vinyl on map, 208 x 134 cm. Photo credit: Courtesy of the artist.
- Jaime Tarazona, “Asia 7-9”, 2010, Adhesive vinyl on map, 141 x 67 cm. Photo credit: Courtesy of the artist.
- Jaime Tarazona, “Europa 8-10”, 2012, Adhesive vinyl on map, 114 x 114 cm. Photo credit: Courtesy of the artist.
- Jaime Tarazona, “Europa 15-25”, 2011, Adhesive vinyl on map, 114 x 335 cm. Photo credit: Courtesy of the artist.
- Jaime Tarazona, “Bogotá 8”, 2010, Paper on postal, 10 x 15 cm. Photo credit: Courtesy of the artist.
- Jaime Tarazona, “La Boca Buenos Aires”, 2010, Paper on postal, 15 x 20 cm. Photo credit: Courtesy of the artist.
- Jaime Tarazona, “Nueva York 1”, 2010, Paper on postal, 15 x 20 cm. Photo credit: Courtesy of the artist.
- Jaime Tarazona, “Houses of Parliament”, 2009, Paper on postal, 10 x 23 cm. Photo credit: Courtesy of the artist.
- Jaime Tarazona, “St Paul’s Cathedral 2”, 2009 Paper on postal, 10 x 23 cm. Photo credit: Courtesy of the artist.
Selected Biographical Information
Education / Training
- Pontificia Universidad Javeriana, cinco años, Arquitecto. Bogota, Colombia.
- Atelier 17, S.W. Hayter, Grabado Moderno, Paris, France.
- Art History, L’ Ecole du Louvre, Paris, France.
Prizes / Fellowships
- 2000: Premio Luis Caballero, Segunda Versión, IDCT, Alcaldia Mayor de Bogotá, Colombia.
- 1996: 1er premio pintura, XXXVI SALON NACIONAL DE ARTISTAS, Instituto Colombiano de Cultura, Colcultura, Corferias, Bogota, Colombia.
- 1992: Mencion, XXXV SALON NACIONAL DE ARTISTAS, Instituto Colombiano de Cultura, Colcultura, Corferias, Bogota, Colombia.
- 1990: Visual Arts New Work Award, Wisconsin Arts Board.
- 1989: Milwaukee County Artists Fellowship.
- 1984: Jury Award, SMALL WORKS, (Eight Annual Contest), Galleries, 80 Washington Square East, New York University, N.Y., USA.
- 1979: Icetex Fellowship for Art Studies Abroad.
Solo Exhibitions
- 2013: “MECHANICAL VENTILATION”, Henrique Faria Fine Arts, New York, USA.
- 2011: “SALTO TEQUENDAMA”, Galeria Casas Reigner, Bogotá, Colombia.
- 2010: “OTRAS VOCES”, Faria & Fabregas Galeria, Caracas, Venezuela.
- 2010: “REVISION”, New Mexico State University Art Gallery, Las Cruces, NM, USA.
- 2009: “CIRCUNSTANCIAS”, Galeria Casas Riegner, Bogotá, Colombia.
- 2007: “TERRITORIOS”, Galeria Casas Riegner, Bogotá, Colombia.
- 2006: “PERMUTANTES”, Cámara de Comercio de Bogotá, Colombia.
- 2006: “ACERCA DE LAS ESTRUCTURAS”, MADC, Costa Rica.
- 2005: “PERMUTANTES”, Sala Mendoza, Caracas, Venezuela.
- 2005: “FRAGMENTED DREAMS”, Amelie A. Wallace Gallery, SUNY College at Old Westbury, New York, USA.
- 2005: “MARGENES PARALELAS”, Galeria Casas Riegner, Bogotá, Colombia.
Group Exhibitions
- 2013: “PERMANENCIA DEL ARTE GEOMETRICO”, Galeria Frances Wu, Lima, Peru.
- 2012: “TRACING TIME”, Josée Bienvenu Gallery, NY, USA.
- 2012: “X BIENAL MONTERREY FEMSA”, Exposición Sextanisqatsi –Curado por José Roca, Monterrey, Mexico.
- 2010: “THEN AND NOW”, Abstraction in Latin American Art 1950-present, 60 Wall Gallery, Deutsche Bank, NY, USA.
- 2009: “VENICE BIENNALE“, Pabellón de América Latina IILA “Mundus Novus ”, Artiglierie dell’Arsenale.
- 2008: “PROYECTOS ESPECIALES”, ARCO, Madrid, Spain.
- 2008: “FORMA, LINEA, GESTO, ESCRITURA”, MuVIM, Valencia, Spain.
- 2007: “LINEA CONTINUA”, Lugar a Dudas, Cali, Colombia.
- 2006: “MARCAS REGISTRADAS”, Museo Nacional de Colombia, Bogotá, Colombia.
- 2006: “ESTRECHO DUDOSO”, Teoretica, Costa Rica.
- 2004: “DIBUJOS”, Johana Calle – Luis Roldán, Museo de Arte Moderno de Buenos Aires, Argentina.
- 2004: “DIBUJOS”, Johann Calle – Luis Roldán, Museo de Arte Moderno de Montevideo.
- 2004: “URBES INTERIORES”, BLLA, Banco de la República, Bogotá, Colombia.
- 2003: “VIOLOGY”, University of the Pacific.
- 2002: “VIOLOGY”, Galeria de la Raza, San Francisco, CA, USA.
Collections
- Bibilioteca Luis Angel Arango, Bogota, Colombia.
- Milwaukee Art Museum, Milwaukee, USA.
- Museo de Arte Moderno de Buenos Aires, Argentina.
- Museo de Arte Moderno de Bogotá, Colombia.
- Museo de Arte Moderno La Tertulia, Cali, Colombia.
- Museo de Arte Moderno Medellin, MAM, Colombia.
- Museo de Arte Latinoamericano, Managua, Nicaragua.
- Museo de Arte Universidad Nacional de Bogotá, Colombia.
- Museo Nacional de Colombia, Bogotá MADC, Costa Rica.
- Museo del Barrio, New York, USA.
- The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, N.Y., USA.
- Colección Suramericana, Medellín, Colombia.
- The Colección Patricia Phelps de Cisneros (CPPC), USA.
- Banco Mercantil, Caracas, Venezuela.
- Cisneros Fontanals Art Foundation, USA.
- Celarg Foundation, Caracas, Venezuela.
- Teorética, Costa Rica.
- Drawing Collection of the Deutsche Bank, New York, USA.
- Coleccion FEMSA, Monterrey, Mexico.
- Luis Roldán, “Reflexiones, : III”, 1990, Series: Reflexiones, Oil on linen, 183 x 157 cm. Photo credit: Tom Bamberger
- Luis Roldán, “Calendario”, 1996, Detrito, wood, 300 x 900 cm. Museo Nacional de Colombia, Bogotá. Photo credit: Clemencia Poveda
- Luis Roldán, “Parque de la independencia,Alicia…”, 1994, Series: Parque de la independencia, Oil on linen, 250 x 320 cm. Photo credit: Oscar Monsalve
- Luis Roldán, “Que estoy haciendo aqui”, 1999-2000, Graphite, paper, Installation view and details. Image courtesy of the artist
- Luis Roldán, “To be young and homeless”, 2002, Series: To be young and homeless, Oil on linen, 190 x 200 cm. Image courtesy of the artist
- Luis Roldán, “Columbrares”, 2006, Series: Margenes Paralelas, Ink, acrylinc on linen, 122 x 136 cm.
- Luis Roldán, “Columbrares”, 2005, Series: Margenes Paralelas, Ink, acrylinc on linen, 122 x 136 cm.
- Luis Roldán, “Desdoblado”, 2006, Series: Sueños, Torn sheet, 186 X 320 com. Location: BLAA, Bogotá.
- Luis Roldán, “Antipolar”, 2007, Series: Sueños, Torn sheet, Variable dimensions. Photo credit: Oscar Monsalve
- Luis Roldán, “Agobio”, 2007, Series: Sueños, Torn sheet, Variable dimensions. Photo credit: Oscar Monsalve
- Luis Roldán, “Pajarera”, 2009, Series: Circunstancias, Mixed media, Variable dimensions. Photo credit: Oscar Monsalve
- Luis Roldán, “Strike Gently II”, 2012, Series: Strike Gently, Books of found matches and cardboard, Variable dimensions. Colección FEMSA. Photo credit: Angela Bonadies
- Luis Roldán, “Numerales II”, 2008-2010, Series: Numerales, Found receipts and acrylic on paper, 100 frames of 31.5 x 24.5 each. Photo credit: Oscar Monsalve.
- Luis Roldán, “La pared II”, 2013, Series: La pared, Paper, print paper and metallic frames, Variable dimensions. Photo credit: Oscar Monsalve.
- Luis Roldán, “Wash & Ware”, 2013, Lint from dryer, Variable dimensions. Photo credit: Arturo Sanchez.
Translated from Portuguese
I think that there is no art without something that doesn’t fit neither in life nor in time. You look at an ancient work and it seems as if it was done yesterday. The blue color in chapel Scrovegni, by Giotto (14th century), is as current as the blue color used by Yves Klein (1928-62). At the end, all art is contemporary.
Traducido del portugués
Pienso que no hay arte sin aquello que no tiene cabida ni en la vida ni en el tiempo. Al mirar un trabajo de la antigüedad, éste pareciera que fue hecho ayer. El color azul de la capilla Scrovegni, de Giotto (siglo XIV), es tan reciente como el azul de Yves Klein (1928-62). Al final, todo el arte es contemporáneo.
Acho que não há arte sem alguma coisa que não caiba na vida nem no tempo. Você olha uma coisa antiga e parece que ela foi feita ontem. O azul da capela Scrovegni, de Giotto [do século 14], é tão recente quanto o azul de Yves Klein [1928-62]. No fundo, toda arte é contemporânea.
Selected Biographical Information
Education / Training
- 1982: USP (University of São Paulo), philosophy.
Prizes / Fellowships
- 2009: Portugal Telecom Prize for Literature, São Paulo, Brazil.
- 2009: Bravo Award! – Best exhibition of the year, São Paulo, Brazil.
- 2007: Grand Prize Award – Barnett Newman Foundation, New York, USA.
- 2006: Bravo Award! – Arts / Best Solo Exhibition, São Paulo, Brazil.
Solo Exhibitions
- 2013: “Lime 87”, University Center Maria Antonia, Sao Paulo, Brazil.
- 2013: “Nuno Ramos, Angel and Doll”, Fortes Vilaca Gallery, São Paulo, Brazil.
- 2012: “3 Muds (They seemed eternal!)”, Celma Albuquerque Gallery, Belo Horizonte, Minas Gerais, Brazil.
- 2012: “The globe of death of all”, with Eduardo Climachauska, Anita Schwartz Gallery, Rio de Janeiro, Brazil.
- 2010: “Strange Fruit”, Museum of Modern Art in Rio de Janeiro, Brazil.
- 2009: “Dead Sea”, Anita Schwartz Gallery, Rio de Janeiro, Brazil.
- 2004: “Nuno Ramos and Frank Stella”, Nave 5 Gallery, São Paulo, Brazil.
Group Exhibitions
- 2013: “Moving”, Norman Foster on Art, Carré d’Art Museum, Nîmes, France.
- 2013: “30x Biennial”, Biennial of São Paulo Foundation, São Paulo, Brazil.
- 2012: “Subverted”, Ivory Press, Madrid, Spain.
- 2011: “Europalia”, FODASEFOICE, performance at Atelier Sidnei Tendler, Brussels.
- 2010: “XXIX International Biennial of São Paulo“, São Paulo, Brazil.
Publications
- 2011: Junco, Iluminuras Publishing House, São Paulo, Brazil.
- 2010: O Mau Vidraceiro, Globo Publishing House, São Paulo, Brazil.
- 2010: Nuno Ramos, Cobogó Publishing House, São Paulo and Rio de Janeiro, Brazil.
- 2009: O, Iluminuras Publishing House, São Paulo, Brazil.
- 2008: Ensaio geral, Globo Publishing House, São Paulo, Brazil.
- 2004: Morte das Casas, House of Image and Bank of Brazil Cultural Center, Curitiba e São Paulo, Brazil.
- 2002: Noites Brancas, House of Image Publishing House, Curitiba, Brazil.
- 2001: O Pão do Corvo, 34 Publishing House, São Paulo, Brazil.
- 1997: Nuno Ramos, Ática Publishing House, São Paulo, Brazil.
Links
- Nuno Ramos, “Untitled”, 2006, Brass, copper, aluminum, plush, plastics, fabrics, mirror, acrylic, oil paint and stainless steel pipes, 157,5 x 315 x 70,9 in. Image courtesy of the artist
- Nuno Ramos, “Untitled”, 1989, Vaseline, paraffin, linseed oil, turpentine, pigment, fabrics, nylon screen, felt, blankets, rubber, gold leaf and metals on wood, 133,9 x 110,2 in. Image courtesy of the artist
- Nuno Ramos, “Untitled”, 2005, Plush, aluminum, mirror, acrylic, Vaseline and oil paint, 90,5 x 43,3 in. Image courtesy of the artist
- Nuno Ramos, “Untitled”, 2009, Series: Plato, Gold leaf, silver leaf, graphite, charcoal and oil paint on paper, 6.3 x 11.4 in. Image courtesy of the artist
- Nuno Ramos, “Untitled”, 2009, Series: Plato with Sun, Gold leaf, silver leaf, graphite, charcoal and plastics on paper, 11.4 x 16.5 in. Image courtesy of the artist
- Nuno Ramos, “Schreber 18”, 2012, Series: Schreber, Silver leaf, graphite, charcoal and oil paint on paper, 84.65 x 59.84 in. Image courtesy of the artist
- Nuno Ramos, “Angel and Doll 13”, 2013, Series: Angel and Doll, Gouache and charcoal on paper, 59.84 x 84.65 in. Image courtesy of the artist
- Nuno Ramos, “White Flag”, 2010, Three sculptures and three posts, all made of granite and pressed burnt sand, three vultures and three glass loudspeakers. Protection mesh, Variable dimensions, Site-specific project. Location: XXIX International Biennial of São Paulo. Image courtesy of the artist and Fortes Vilaça Gallery
- Nuno Ramos, “Black Cry”, 2004, Marble, tar, electrical resistance, 63 x 43.3 x 96.9 in. Image courtesy of the artist
- Nuno Ramos, “What are hours?”, 2003, Compressed burnt sand, burnt oil and clocks, 70.9 x 157.5 x 157.5 in. Image courtesy of the artist
- Nuno Ramos, “Black Manorá”, 1999, Polished marble, vaseline and ashes, 67 x 61 x 11.8 in. Image courtesy of the artist
- Nuno Ramos, “Drop”, 1998, Marble, blown glass and vaseline. / Marble, blown glass and liquid vaseline, 39,4 x 106,3 x 39,4 in / 39,4 x 118,1 x 39,4 in. Image courtesy of the artist
- Nuno Ramos, “Untitled”, 1998, Marble and, vaseline, 82.7 x 74.8 x 55.1 in. Image courtesy of the artist
- Nuno Ramos, “Fungus”, 1998, Ceramics, Variable dimensions. Image courtesy of the artist
- Nuno Ramos, “Go, go”, 2006, Donkeys, hay, salt, water, steel barrels, loudspeakers, plywood, sawdust and splinter, Variable dimensions. Image courtesy of the artist
Translated from Spanish
I understand painting as a way of thinking and as an experimental practice. I think with images and then I try to conceive them. I work with premises. I think about walking as my form of resistance and about art as the ultimate frontier to redeem the desire to live in a different way. Surfer.
Entiendo a la pintura como una forma de pensamiento y como una práctica experimental. Pienso con imágenes y luego intento concebirlas. Trabajo con premisas. Pienso en el andar como mi forma de resistencia y al arte como la última frontera para reivindicar el deseo de vivir de forma distinta. Surfista.
Selected Biographical Information
Education / Training
- 2003: Analista en Economía. Facultad de Ciencias Económicas, Universidad de la República, Montevideo, Uruguay.
- 2003: Formacion de taller con Fernando López Lage en el FAC (Fundación de Arte Contemporáneo) Montevideo, Uruguay.
Prizes / Fellowships
- 2012-2014: Beca de creación FEFCA de la dirección Nacional de Cultura del MEC (Ministerio de Educación y Cultura) Montevideo, Uruguay.
- 2012: Premio Nacional de pintura, Bartolmé Macció, San José, Uruguay.
- 2012: Premio Paul Cezanne. Alliance Françoise, Montevideo, Uruguay.
- 2011: Premio Pintura Bicentenario (selección). Museo Nacional de Artes Visuales, Montevideo, Uruguay.
- 2011: Beca Instituto Goethe Montevideo-Berlin.
Solo Exhibitions
- 2012: “Extractor Voyeur”, Alianza Francesa, Montevideo, Uruguay.
- 2011: “3 Cans of Klarlack”, Torstrasse 111, Berlín, Germany.
- 2011: “Círculos de Pintura Negra y Su Correspondiente Problemática”, Galería Jacksonville, Montevideo, Uruguay.
- 2010: “Work Premises”, Alejandra Von Hartz Gallery, Miami, USA.
Group Exhibitions
- 2013: “Sistema”, Fundación Pablo Cassará, Buenos Aires, Argentina.
- 2013: “KIOSCO”, Montevideo, Uruguay.
- 2012: “Equipaje de Mano”, Museo de las Migraciones, Montevideo, Uruguay.
- 2012: “Geométricos Hoy”, Colección MACBA, UADE Art, Buenos Aires Argentina.
- 2012: “Lets begin with a Line”, Emerson Dorsch Gallery, Miami, USA.
- 2010: “Pekín: Cintas Ortogonales y Cuadrados Sintéticos”, Galería Van Riel, Buenos Aires, Argentina.
- 2009: “Pinturas recientes”, Galería Del Paseo, Manantiales, Punta Del Este, Uruguay.
- 2008: “Aproximación a una gota de pintura (negra)”, Fundación Pablo Atchugarry, Manantiales, Punta del Este, Uruguay.
Publications
- 4 Museos + 40 Obras. Colección MACBA (Museo de Arte Contemporáneo de Buenos Aires), Buenos Aires, Argentina.
- 54 Premio Nacional de Artes Visuales Carmelo Arden Quin. Montevideo, Uruguay.
- Nuevas Vías de Acceso II. MNAV (Museo Nacional de Artes Visuales). Montevideo, Uruguay.
- Absorciones. MEC (Ministerio de Educación y Cultura). Montevideo, Uruguay.
Collections
- Colección MACBA, Buenos Aires, Argentina.
- Colección Engelman-Ost, Montevideo, Uruguay.
- Colección Ruben Cherñajovsky, Buenos Aires, Argentina.
Links
- Martin Pelenur, “S/T ( instalación de 12 cuadrados en pared)”, 2013, Series: (X,Y) (Negro, Azul), Blue and black paper tape on acrylic, Variable dimensions, 8 squares of 80×80 cm and 4 squares of 100×100 cm each, Site-specific project. Location: Alejandra VonHartz Gallery. Photo credit: Oriol Tarridas
- Martin Pelenur, “S/T ( instalación de 12 cuadrados en pared)”, 2013, Series: (X,Y) (Negro, Azul), Blue and black paper tape on acrylic, Variable dimensions, 8 squares of 80×80 cm and 4 squares of 100×100 cm each, Site-specific project. Location: Alejandra VonHartz Gallery. Photo credit: Oriol Tarridas
- Martin Pelenur, “S/T ( instalación de 12 cuadrados en pared)”, 2013, Series: (X,Y) (Negro, Azul), Blue and black paper tape on acrylic, Variable dimensions, 8 squares of 80×80 cm and 4 squares of 100×100 cm each, Site-specific project. Location: Alejandra VonHartz Gallery. Photo credit: Oriol Tarridas
- Martin Pelenur, “S/T”, 2010, Series: Cinta Transfer, Synthetic paint and transfer tape, 400 x 36 cm, Site-specific project. Location: Alejandra VonHartz Gallery. Photo credit: Diego Velazco
- Martin Pelenur, “S/T”, 2010, Series: Cinta Transfer, Synthetic paint and transfer tape, 400 x 36 cm, Site-specific project. Location: Alejandra VonHartz Gallery. Photo credit: Diego Velazco
- Martin Pelenur, “S/T”, 2011, Series: Berlin, Synthetic paint and wood, Variable dimensions, 6 boxes of 50×50 cm each. Photo credit: Dian Zagorchinov
- Martin Pelenur, “S/T”, 2011, Series: Berlin, Synthetic paint and wood, Variable dimensions, 6 boxes of 50×50 cm each. Photo credit: Dian Zagorchinov
- Martin Pelenur, “S/T”, 2012, Series: Material cintas, Two-sided paper tape on polycarbonate, Variable dimensions, 2 plates of 200×100 cm and 2 of 100×100 cm each.
- Martin Pelenur, “S/T”, 2012, Series: Material cintas, Two-sided paper tape on polycarbonate, Variable dimensions, 2 plates of 200×100 cm and 2 of 100×100 cm each.
- Martin Pelenur, “4^16”, 2013, Synthetic paint and wood en boxes, Variable dimensions, 16 boxes of 20 x 20 cm
- Martin Pelenur, “4^16”, 2013, Synthetic paint and wood en boxes, Variable dimensions, 16 boxes of 20 x 20 cm
- Martin Pelenur, “S/T”, 2013, Varnish and polycarbonate, 100 x 100 cm each. Photo credit: Gustavo Frias
- Martin Pelenur, “S/T”, 2013, Varnish and polycarbonate, 100 x 100 cm each. Photo credit: Gustavo Frias
- Martin Pelenur, “S/T”, 2010, Series: rizomas, Synthetic paint on canvas, Variable dimensions
- Martin Pelenur, “S/T”, 2010, Series: rizomas, Synthetic paint on canvas, Variable dimensions
Thinking about the past is the perfect still life. To stop is one of the premises of painting. It is as if thought, facing the past, acts as a force that fences or at least slows the speed of time and synchronizes the individual and collective velocities.
With the cold and electric light of thunderbolts, El Greco directs the film of Futurism, through which he strives to escape from Lascaux, but cannot. In the background, silvery mesh-like curtains make labyrinths of infinite casual correlations. Through opaque glass windows, crystal palaces interiors are reflected.
I think the only honest way to bond with painting today is to embrace the fact that it has survived over the ages, to look back with love and admiration for what has been done, and to discover the vast universe of what was created. The further back in time one looks, the more mysterious the findings become.
Traducido del inglés
Pensar en el pasado es el bodegón perfecto. El detenerse es una de las premisas del pintar. Es como si el pensamiento, de cara al pasado, actuara como una barrera o, al menos, detuviera el paso del tiempo y sincronizara las velocidades individuales y colectivas.
Con la luz fría y eléctrica de los rayos, El Greco dirige la película del Futurismo, a través de la cual se esfuerza por escapar de Lascaux, pero no puede. En el fondo, las cortinas de malla de plata hacen laberintos de correlaciones casuales infinitas. A través de las ventanas de cristal opaco, palacios de cristal interiores se reflejan.
Creo que la única manera honesta de vincular la pintura de hoy, es aceptar el hecho de que ha sobrevivido a lo largo de los siglos, para mirar hacia atrás con cariño y admiración por lo que se ha hecho, y para descubrir el vasto universo de lo que fue creado. Cuanto más atrás en el tiempo se mire, más misteriosos los hallazgos se convierten.
Selected Biographical Information
Education / Training
- 2013-2015: MFA (ongoing), UNA (National University of Arts), Buenos Aires, Argentina.
- 2011-2012: UTDT (Universidad Torcuato di Tella) 2011-2012. Programa de Artistas. Buenos Aires, Argentina.
- 2011: LIPAC-UBA-ROJAS ( Laboratorio de Investigación en Prácticas Artísticas Contemporáneas), Argentina.
- 2004-2011: IUNA (Instituto Universitario Nacional de Arte). Licenciado en Artes Visuales con orientación en pintura. Buenos Aires, Argentina.
Prizes / Fellowships
- 2014: FAAP Residency, FAAP (Armanda Álvarez Penteado Foundation), Sao Paulo, Brazil.
- 2012: Primer premio “Salón Nacional de Pintura Banco Nación” Casa Nacional del Bicentenario, Secretaría de Cultura de la Nación. Categoría menores de 35 años. Buenos Aires, Argentina.
Solo Exhibitions
- 2014: “LPS(Luz/Shoji/Piel)”, CCGSM (Gral. San Martín Cultural Center ), Buenos Aires, Argentina.
- 2013: “CUBISCONKRETFUTUINFORMALÍKREACIÓN”, Galería Inmigrante, Buenos Aires, Argentina.
- 2012: “FANTASMA”, Galería Braga Menéndez, Buenos Aires, Argentina.
- 2010: “Las manos daltónicas y el ojo muñón”, Galería Braga Menéndez, Buenos Aires, Argentina.
Group Exhibitions
- 2014: “Pintura”, Nora Fisch, Buenos Aires, Argentina.
- 2014: “S/T”, Zavaleta Lab, Buenos Aires, Argentina.
- 2013: “Bienal de Arte Joven”, Ciudad cultural Konex, Buenos Aires, Argentina.
- 2013: “Xanadu”, Universidad Torcuato Di Tella, Buenos Aires, Argentina.
- 2011: “FUEN7E”, Galería Lordi, Buenos Aires, Argentina.
- 2011: “Berger/Hartavi/Malfatti/Oller”, Fundación Esteban Lisa, Buenos Aires, Argentina.
- 2010: “Convocatoria Luis Adelantado(XII edición)”, Valencia, Spain.
- 2010: “Colar”, Galería Belizário, Belo Horizonte, Brazil.
- 2010: “Libres y contentos”, Galería Braga Menéndez, Buenos Aires, Argentina.
- 2010: “Pentapack”, Galería Wussmann, Buenos Aires, Argentina.
- 2010: “Viajeros”, Casa Cortés, San Juan, Puerto Rico.
- 2009: “Cátedra”, Centro Cultural Borges, Buenos Aires, Argentina.
- 2009: “Rizoma 4”, Galería Jacques Martínez, Buenos Aires, Argentina.
- 2008: “Premio Proyecto A (7ª edición)”, Proyecto A, Buenos Aires, Argentina.
- 2008: “Premio Fundación Williams”, Centro Cultural Borges, Buenos Aires, Argentina.
Publications
Collections
- Esteban Tedesco, Buenos Aires, Argentina.
- Gabriel Werthein, Buenos Aires, Argentina.
- Luis Parenti, Buenos Aires, Argentina.
- Guillermo Ruberto, Buenos Aires, Argentina.
- Alec Oxenford, Buenos Aires, Argentina.
- Sayago & Pardon, California, United States.
- Ramiro Oller, “Sin Título (Homenaje)”, 2010, Vinyl on wood, 110 x 90 cm. Private Collection.
- Ramiro Oller, “Mano casi daltónica (políptico)”, 2010, Series: Manos daltónicas, Vinyl, paper and acrylic on paper. Intervened frames, 200 x 100 cm. Private Collection.
- Ramiro Oller, “Las manos daltónicas y el ojo muñón (Vista de la instalación)”, 2010, Series: Manos daltónicas, Vinyl, paper and acrylic on paper. Intervened frames, installation view. Private Collection
- Ramiro Oller, “Sin título (Del Prete)”, 2010, Acrylic on extruded polystyrene, 60 x 30 cm. Image courtesy of the artist
- Ramiro Oller, “Torii”, 2010, Wigs cemented and painted tiles, 90 x 45 cm. Image courtesy of the artist
- Ramiro Oller, “s/t”, 2011, Acrylic, paper and vinyl on paper, 130 x 90 cm. Image courtesy of the artist
- Ramiro Oller, “s/t (plateado sobre plateado)”, 2011, Vinyl, paper, marker and spray paint on paper, 130 x 90 cm. Private Collection
- Ramiro Oller, “S/T”, 2011, Vinyl, polarized and polyester, 145 x 145 cm. Tedesco Collection
- Ramiro Oller, “S/T (Fantasma)”, 2012, Series: Fantasma, Polarized on glass, 125 x 90 cm. Trapiche Collection
- Ramiro Oller, “S / T (Futucubismo Astral II)”, 2012, Series: Futucubismo, Photographic paper, collage, 210 x 150 cm. Tedesco Collection
- Ramiro Oller, “Futucubismo Astral (Vista de la instalación)”, 2012, Series: Futucubismo Astral, Photographic paper, collage, 210 x 150 cm, Site-specific project. Location: Colección Banco Nación, Tedesco y Richardson de Haenen
- Ramiro Oller, “Concepto Futucubista”, 2012, Polarized on glass, 180 x 500 cm, Site-specific project. Oxenford Collection
- Ramiro Oller, “CQ”, 2013, Series: CQ’s, Vinyl, 24 x 18 cm. Image courtesy of the artist
- Ramiro Oller, “CQ”, 2013, Series: CQ’s, Vinyl, 24 x 18 cm. Image courtesy of the artist
- Ramiro Oller, “CQ”, 2013, Series: CQ’s, Acrylic on extruded polystyrene, 195 x 130 cm. Image courtesy of the artist
Translated from Spanish
My pleasure for handmade and handcraft work has allowed me to delve into the technique of collage, with which I work since several years ago. This technique lets me construct compositions of movement and color through diverse cut outs. Thanks to an introspective work I can bring order to the chaos of the small cut outs—a more joyful order.
The amount of images to cut out is infinite, and they vary in their colors and textures. The shapes in which they can be cut out are infinite, such as circles, rectangles, squares, strips, rhombuses, or irregular geometric forms. Their layout in the surface of the work is unlimited; plot, pattern, repetition, overlap; diagonals, horizontally, vertically.
Mi gusto por el trabajo manual y artesanal, me ha llevado a profundizar en la técnica del collage, con la cual trabajo hace varios años. Esta técnica me permite construir, a través de distintos recortes, composiciones de movimiento y color. A través de un trabajo introspectivo puedo llevar orden al caos de los pequeños recortes, un orden más alegre.
Es infinita la cantidad de imágenes para recortar, que varían en sus colores o texturas. Ilimitadas las formas en que se pueden recortar como círculos, cuadrados, tiras, rombos o formas geométricas irregulares. Ilimitada es su disposición en el plano de la obra, trama, patrón, repetición, superposición, diagonales, horizontales, verticales.
Selected Biographical Information
Education / Training
- Studied painting with Roberto Fernández, Roberto Scafidi, Juan Doffo and Paula Socolovsky.
Prizes / Fellowships
- 2008: Salón Nacional de Pintura Fundación Banco de la Nación Argentina, mención honorífica, Buenos Aires, Argentina.
- 2008: Fundación Williams de Arte Joven, mención honorífica, Buenos Aires, Argentina.
Solo Exhibitions
- 2015: “Magic Jungle”, Now Contemporary Art, Miami, USA.
- 2012: “Fragments of Expression”, Now Contemporary Art, Miami, USA.
- 2010: “Variaciones Geométricas”, Centro Cultural Borges, Buenos Aires, Argentina.
- 2008: “Ordenador Serial”, Espacio de Arte Filadelfia ESEADE, Buenos Aires, Argentina.
Group Exhibitions
- 2013: “Timeless Matter”, Now Contemporary Art, Miami, USA.
- 2013: “Before the Alarm”, Sayago & Pardon Latin American Art Collection, Bank of America Gallery, Three Stages, Folsom Lake College, Folsom, California, USA.
- 2011: “Wonderstuck”, Praxis Internacional Art, New York, USA.
- 2010: “Super Cluster”, Praxis Internacional Art, Miami, USA.
- 2010: “Palais de Glace”, Salón Nacional de Artes Visuales, Buenos Aires, Argentina.
- 2009: “Palais de Glace”, Salón Nacional de Artes Visuales, Buenos Aires, Argentina.
- 2008: “Femenino”, Mil100 Art Gallery, Buenos Aires, Argentina.
- 2006: “IMAGO Espacio de Arte”, Premio Argentino de Artes Visuales Fundación OSDE, Buenos Aires, Argentina.
Publications
- “Before the Alarm: Selections from the Sayago & Pardon Latin American Art Collection,” 2013.
- Magdalena Murua “Fragments of Expression”, Now Contemporary Art, 2012.
Collections
- Sayago & Pardon, CA, USA
Links
- Magdalena Murua, “Batman II” (Detail), 2013, Collage on canvas, 120 x 120 cm. Photo credit: Courtesy of the artist.
- Magdalena Murua, “Batman II”, 2007, Collage on canvas, 100 x 100 cm. Photo credit: Courtesy of the artist.
- Magdalena Murua, “Vacíos II”, 2008, Collage and acrylic on canvas, 150 x 150 cm. Photo credit: Courtesy of the artist.
- Magdalena Murua, “Constelaciones”, 2009, Collage on canvas, 120 x 120 cm. Photo credit: Courtesy of the artist.
- Magdalena Murua, “La caída del hombre murciélago”, 2010, Collage on canvas, 120 x 120 cm. Photo credit: Courtesy of the artist.
- Magdalena Murua, “Círculos vacíos II” (Detail), 2010, Collage on canvas, 100 x 100 cm. Photo credit: Courtesy of the artist.
- Magdalena Murua, “Una noche estrellada”, 2010, Collage on canvas, 100 x 100 cm. Photo credit: Courtesy of the artist.
- Magdalena Murua, “Una noche estrellada”, 2010, Collage on canvas, 100 x 100 cm. Photo credit: Courtesy of the artist.
- Magdalena Murua, “Paloma”, 2010, Collage on canvas, 140 x 140 cm. Photo credit: Courtesy of the artist.
- Magdalena Murua, “El Verbo” (Detail), 2011, Collage on canvas, 100 x 100 cm. Photo credit: Courtesy of the artist.
- Magdalena Murua, “El Verbo”, 2011, Collage on canvas, 100 x 100 cm. Photo credit: Courtesy of the artist.
- Magdalena Murua, “Ecléctico IV”, 2011, Collage on canvas, 100 x 100 cm. Photo credit: Courtesy of the artist.
- Magdalena Murua, “Luz”, 2011, Collage on canvas, 120 x 120 cm. Photo credit: Courtesy of the artist.
- Magdalena Murua, “El justiciero del far west” (Detail), 2012, Collage on canvas, 140 x 140 cm. Photo credit: Courtesy of the artist.
- Magdalena Murua, “Mi nombre”, 2013, Collage on canvas, 140 x 140 cm. Photo credit: Courtesy of the artist.
Translated from Spanish
In the current development of my work, I’ve seen necessary to incorporate physical and concrete objectual elements so they dialogue directly with the walls and floors in spaces of determinate spaces, pursuing a more architectural ideal more adapted and articulated to the exhibition space. I am interested on encountering the space by creating spatial and formal connections with the shadows and their materiality, subjecting the surfaces and physical limits of the space, unlimiting it formally, visually and perceptively.
In some cases, I work with a series of “objectual pieces,” consisting of basic geometric elements: volumes, planes and lines made with simple materials, to continue with the idea of space as protagonizer, beyond the materiality of the forms. To develop them I use linear forms of stainless steel, aluminum or carbon fiber, and other materials such as acrylic and woods. Some of the works are constructed in modules so they can adapt to different exhibition spaces and so that I can make combinations subject to the space where they would finally be placed at. This series of works that I have been producing, are an account of my most current analysis about the unlimited possibilities that the space offers as support to the work, as a constructive tool.
En el desarrollo actual de mi trabajo he visto necesaria la incorporación de elementos físicos y objetuales concretos para que dialoguen directamente con muros y pisos en ángulos de determinados espacios persiguiendo una idea más arquitectónica, más acoplada y articulada al espacio expositivo. Me interesa salir al encuentro del espacio estableciendo vínculos espaciales y formales con las sombras y las materialidades de las mismas subjetivizando las superficies y fronteras físicas del espacio, ilimitándolo formal, visual y perceptivamente.
En algunos casos, trabajo con una serie de “piezas objetuales” conformadas por elementos geométricos básicos: volúmenes, planos y líneas elaborados en materiales simples, para continuar con la idea del espacio como materia protagónica más allá de la materialidad de las mismas. Para su desarrollo utilizo formas lineales y planas de acero inoxidable, aluminio ó fibra de carbono, así como también materiales como el acrílico y madera de diferentes calidades.
Algunas de las obras son construídas en módulos de modo de poder adaptarse a diferentes espacios expositivos y para permitirme realizar con ellas combinaciones supeditadas al espacio donde serán finalmente emplazadas.
Esta serie de obras en las que vengo trabajando dan cuenta de mis últimas investigaciones en las posibilidades ilimitadas que ofrece el espacio como soporte de la obra, como herramienta constructora.
Selected Biographical Information
Education / Training
- Profesorado de Pintura, egresada de la Escuela Nacional de Bellas Artes “Prilidiano Pueyrredón” (dependiente del IUNA dec.1404/96).
Prizes / Fellowships
- 2013: Beca a la creación otorgada por el Fondo Nacional de las Artes. Buenos Aires, Argentina.
- 2013: Premio Concurso Igualdad Cultural. Buenos Aires, Argentina.
- 2007: Beca Fonca – Conaculta para programa de residencias artisticas para creadores de Iberoamerica y de Haití en México.
Solo Exhibitions
- 2014: “….in circle”, Alejandra von Hartz Gallery, Miami, USA.
- 2012: “Encuadre”, Galería Jorge Mara La Ruche, Buenos Aires, Argentina.
- 2011: “…en ángulo”, SALA 8, Centro Cultural Recoleta, Buenos Aires, Argentina.
- 2010: “Papel Protagónico”, Oficina Proyectista, Buenos Aires, Argentina.
- 2010: “Collages”, María Casado Gallery, Buenos Aires, Argentina.
- 2010: “Marcolina Dipierro en Planograf”, Zavaleta Lab / Arte Contemporáneo, Buenos Aires, Argentina.
Group Exhibitions
- 2012: “Agencia de asuntos subtropicales”, Curated by: Teresa Riccardi – EAC, Espacio de Arte contemporáneo, Uruguay.
- 2012: “Muestra colectiva”, Ciclo Pertenencias, Casa de la Cultura de FNA, Buenos Aires, Argentina.
- 2012: “Últimas Tendencias II”, Colección del Museo de Arte Moderno de Buenos Aires, MAMBA, Buenos Aires, Argentina.
- 2010: “RAM”, Espacio contemporáneo, Intervenciones, Fundación PROA, Buenos Aires, Argentina.
- 2009: “Beloved Structure: The Argentine Legacy”, Alejandra von Hartz Gallery, Miami, USA.
Publications
- Marcolina Dipierro. Catálogo. Galeria Jorge Mara La Ruche.
- “Entre la volumetría del plano y la planimetría del espacio”. Marcolina Dipierro en Galería Jorge Mara-La Ruche. Nota para ArtNexus nº 88 por María Amalia García.
- “La potencia de la geometría” Nota de Ana Marìa Battistozzi, sobre muestra individual en Galería Jorge Mara La Ruche. Publicada Diciembre del 2012, en Suplemento Ñ del diario Clarín. Buenos Aires, Argentina.
- “Tiempo coagulado en madera y metal“ Nota de Daniel Molina sobre muestra individual en Galería Jorge Mara La Ruche. Publicada el domingo 23Diciembre del 2012, en Diario Perfil. Buenos Aires, Argentina.
- “Los micromundos sin trama”, Nota por Daniel Molina sobre muestra “en planograf”,publicada el Domingo 30 de mayo de 2010 en Diario Perfil. Buenos Aires, Argentina.
Links
- Marcolina Dipierro, “Sin título”, 2013, Polychrome wood, concave angle structure, 115 x 60 x 150 cm.
- Marcolina Dipierro, “Sin título”, 2012, Cedar and acrylic paint, 5mm iron base x 150 x 70 cm. Photo credit: Nicolás Beraza.
- Marcolina Dipierro, “Sin título”, 2012, Polychrome wood, 100 x 100 x 18cm. Photo credit: Nicolás Beraza.
- Marcolina Dipierro, “Sin título”, 2012, Printed paper on wood, 20 x 29 x 2.5 cm.
- Marcolina Dipierro, “Pieza deslizable”, 2013, Cedar wood and acrylic, 53 x 18 x 3 cm.
- Marcolina Dipierro, “Sin título”, 2012, Series: Marcos en fuga, Cedar wood and glass, 20 x 30 x 20 cm deep. Photo credit: Oriol Tarridas.
- Marcolina Dipierro, “Sin título”, 2012, Cedar and acrylic paint, 40 x 40 x 20 cm deep.
- Marcolina Dipierro, “Sin título”, 2012, Collage with printed paper, 20.5 x 29.5 cm. Photo credit: Nicolás Beraza.
- Marcolina Dipierro, “Sin título-x4”, 2012, Collage with printed paper, 20 x 20 cm. Photo credit: Nicolás Beraza.
- Marcolina Dipierro, “Sin título”, 2012, Cedar beams and high impact stainless steel, 8 x 8 cm beams, 140 cm in total length, 20 cm.
- Marcolina Dipierro, “Sin título – Diptych”, 2011, Wood, cedar veneer and acrylic paint, 50 x 50 cm / 50 x 44 cm.
- Marcolina Dipierro, “Sin título – Triptych”, 2011, Wood, cedar veneer and aluminum, 21x 21 cm c/u -21 x 70 cm total 85 cm.
- Marcolina Dipierro, “Sin título”, 2010, Self-adhesive vinyl photo, Variable dimensions. Buenos Aires, Argentina. Photo credit: http://www.proa.org/esp/exhibition-ram-marcolina-dipierro-1.php
- Marcolina Dipierro, “Sin título”, 2011, Cedar and acrylic paint, 20 x 20 x 17 cm.
- Marcolina Dipierro, “Installation on wall”, 2011, Wood modules of cedar and acrylic paint, Variable dimensions. Buenos Aires, Argentina.
Translated from Spanish
I always knew that when I would leave architecture, someday I would return to it, not as an architect, but as an artist. I do not consider myself a painter, sculptor, draftsman, or photographer. I find reducing art to one technique to be unfair. I am an artist who works with ideas, possibilities and concepts, where each work requires a particular technique. Since I was a child I have struggled to distinguish fantasy from reality; now I constantly try to transform figuration in abstraction and vice versa. I have always liked to surprise myself and surprise everyone else. When this is incorporated into the fact that the work leaves you thinking, the work becomes complete. I am interested in finding the balance between the formal and the conceptual; between the left and the right. I am left-handed and dyslexic, therefore I write backwards in a natural way since I was 4 years old, using the right hemisphere of the brain; where emotional expression, sign language, musical sensibility and artistic sensibility are located. I work, think and speak with numbers, information, counting, figures, in a repetitive, obsessive way, organized within chaos. I constantly seek originality through repetition; I like something to be universal and particular. I am at the same time minimalist and baroque. I have 6.5 cm between my two pupils. The first impression with any work of art will always be visual, as conceptual as this may be. Thus I am interested in experimenting with different ways of “seeing” that are not only through the eyes. To achieve this I often use psychics and blind people, since I am certain of the parallel that exists between a clairvoyant and an artist. I am drawn by paranormal phenomena, criminology, music and meditation, among many other things. I am interested in accumulating objects from 1860 to 1960, approximately, focused on photography and architectural elements, among others. I look for and find “things” that ceased to fulfill the function they were made for and before they are turned into waste, I negotiate them, exchange them or buy them to turn them into something else. My studio is a sort of laboratory where experimentation is fundamental to the process and development in series. All the processes are documented and are part of an archive. When I make a mistake, it is not fixed or patched up; the work is simply discarded and I begin another one from scratch. I like to question and create through a process of destruction. Also to create something to then undo it, then something that apparently does not take me anywhere ends up being the work itself, through the trace, the mark or the document that remains. Work produces work, work produces more work, and work also produces ideas and ideas generate more ideas and also more work. The workshop functions infinitely and circularly, with a team of people that go from the ordinary to the extraordinary. I buy, collect and accumulate a great diversity of archives that ultimately will be a work in themselves, or the raw material of different series to be developed. I write ideas, projects, phrases, words and quantities in my notebooks every day. I always work in different series or projects simultaneously, in some I have absolute control of the work, and in others everything is random. Some works are a 100% created in the studio, while others are found or transformed from garbage to something else. Time, gravity, fragility, waste, and accident are the constants in any series or any work. The energy factor of the works, the objects and the things in general is an important element, such that my definition of art is parallel to the definition of energy: Art is neither created nor destroyed, it can only be transformed.
Siempre supe que al dejar la arquitectura, algún día regresaría a ella, pero ya no más como arquitecto, sino como artista. No me considero pintor, escultor, dibujante, ni fotógrafo; reducir el arte a una técnica me parece injusto. Soy un artista que trabaja con ideas, posibilidades y conceptos, en donde cada obra pide una técnica en particular. Desde pequeño me ha costado diferenciar la fantasía de la realidad; ahora constantemente trato de transformar la figuración en abstracción y viceversa. Siempre me ha gustado sorprenderme y generar sorpresa en los demás, cuando esto se une a que la obra te deje pensando, se completa la pieza. Me interesa encontrar el balance entre lo formal y lo conceptual; entre la izquierda y la derecha. Soy zurdo y disléxico, por lo que escribo al revés desde los 4 años de forma natural, utilizando el hemisferio derecho del cerebro; en donde se localiza la expresión emocional, el lenguaje mímico, la sensibilidad musical y la sensibilidad artística. Trabajo, pienso y hablo con números, información, conteos, cifras, de una forma repetitiva, obsesiva y ordenada dentro de un caos. Busco constantemente la originalidad a través de la repetición, me gusta que algo sea universal y particular; soy minimalista y barroco al mismo tiempo. Tengo 6.5 cm entre cada una de mis dos pupilas. El primer impacto con cualquier obra de arte siempre será visual, por más conceptual que esta sea; por lo que me interesa experimentar con diversas formas de “ver”, que no sea únicamente con los ojos; para lograr esto suelo utilizar videntes e invidentes, ya que estoy seguro del paralelo que existe entre un vidente y un artista. Me llaman la atención los fenómenos paranormales, la criminología, la música y la meditación entre muchas cosas más. Me interesa acumular objetos que van de 1860 a 1960 aproximadamente, enfocados en fotografía y elementos arquitectónicos principalmente, entre muchos más. Busco y encuentro “cosas” que dejaron de cumplir su función para las que fueron hechas y antes de convertirse en un desecho, negociarlas, intercambiarlas o comprarlas para convertirlas en algo más. Mi estudio es una especie de laboratorio, en donde la experimentación es la parte fundamental en el proceso y desarrollo de serie. Todos los procesos quedan documentados y forman parte de un archivo. Cuando cometo un error, no se compone o parcha, simplemente la pieza se descarta y se comienza una nueva desde cero. Me gusta cuestionar y crear mediante de un proceso de destrucción, así como también hacer algo para después deshacerlo y lo que aparentemente no me lleva a nada, en realidad es la obra en sí, a través de la huella, la marca o el registro que queda. El trabajo genera trabajo, el trabajo genera más trabajo, el trabajo genera también ideas y las ideas generan más ideas y a la vez también más trabajo, y así infinitamente y en círculo es la forma en la que funciona el taller, con un equipo de personas que van de lo ordinario a lo extraordinario. Compro, colecciono y acumulo una gran diversidad de archivos que al final serán una obra en sí o la materia prima de diversas series por desarrollar. Todos los días escribo en mis cuadernos ideas, proyectos, frases, palabras y cantidades. Siempre trabajo en varias series o proyectos al mismo tiempo, en algunos tengo un control absoluto de la pieza, en otros todo queda al azar. Algunas obras son creadas al 100% en el estudio, mientras otras son encontradas o transformadas de un desecho a algo más. El tiempo, la gravedad, la fragilidad, el desecho, el accidente, son constantes el cualquier serie o en cualquier pieza. El factor energético de las piezas, de los objetos y las cosas en general es un elemento importante, tanto así que mi definición de arte es un paralelo a la definición de energía: El arte ni se crea ni se destruye, tan solo se transforma.
Selected Biographical Information
Education / Training
- 2006: Work residency, École Régionale des Beaux-Arts Saint-Étienne, France.
- 2001/2003: MFA in Photography and Video (with honors), Pratt Institute, New York, USA.
- 1987/1991: BA in Architecture (with honors), Universidad Anáhuac del Norte, Mexico City, Mexico.
Prizes / Fellowships
- 2013-2015: Sistema Nacional de Creadores de Arte Grant (2013-2016), Mexico.
- 2006: First prize, WTC Artfest 06, II Concurso Internacional de Arte Contemporáneo, Mexico City, Mexico.
- 2005: First prize, VII Bienal de Monterrey FEMSA, Monterrey, Mexico.
- 2005: First prize, SIVAM (Sociedad Internacional de Valores del Arte Mexicano A.C.), Mexico City, Mexico.
- 2001: Fulbright García Robles Grant, Visual Arts section.
- 2001: Jacques and Natasha Gelman Grant.
- 2000: Grant, Jóvenes Creadores 2000, Colima, Mexico.
- 1997: First prize, III Bienal de Pintura de Occidente Alfonso Michel, Colima, Mexico.
Solo Exhibitions
- 2014: “Lo que no vemos lo que nos mira”, Curator Willy Kautz, Museo Amparo, Puebla, Mexico.
- 2012: “T.O.E.F.M.U.T.I.T.O.A.I.I.”, Sicardi Gallery, Houston, Texas, USA.
- 2012: “Exposición Panamericana”, N.C. Arte, Bogotá, Colombia.
- 2012: “Señales Aleatorias / Ruido Blanco”, MUSAS Museo de Arte de Sonora, Mexico.
- 2011: “Ruido Blanco / White Noise”, Museo de Arte Contemporáneo de Oaxaca MACO, Curator: Kerstin Erdmann, Oaxaca, Mexico.
- 2011: “Originalmentefalso”, Galería OMR, México.
- 2011: “Frágil / Fragile: project room”, MOLAA, Museum of Latin American Art, Curator: Cecilia Fajardo Hill, Long Beach, California, USA.
- 2008: “d.i.b.u.j.o.s.”, C. C. Bastero Kulturgunea, Andoain (Gipuzkoa), Spain.
- 2008: “39-G.M.C.-23.sept.07”, Conner Contemporary, Washington, D.C., USA.
- 2008: “Blind lines”, Sicardi Gallery, Houston Texas, USA.
- 2007: “Brújula de cuestiones”, Galería OMR, Mexico City, Mexico.
- 2006: “Extensions”, Galerie La Serre, École Régionale des Beaux-Arts Saint-Étienne, France.
- 2004: “00-04”, Museo de Arte Contemporáneo de Colima, Colima, Mexico.
- 2003: “G.M. antes y después”, exhibition organized by Ministry of Culture of the state of Colima; traveled to 10 venues in Mexico.
- 2001: “Serie Homenaje a Robert Mapplethorpe”, Galería Nina Menocal, Mexico City, Mexico.
- 1997: “The Form Without Form”, Art Museum of the Americas, Washington, D.C., USA.
- 1996: “La Inconciencia de la Vista”, Museo Regional de Historia, Colima, Mexico.
Group Exhibitions
- 2013: “Ruta Mística”, Curator: Gonzalo Ortega, MARCO, Monterrey, Mexico.
- 2013: “Tropicalia Negra”, Curator: Willy Kautz, Museo Experimental El Eco, Mexico City, Mexico.
- 2013: “2013 California-Pacific Triennial”, Chief Curator: Dan Cameron, Orange County Museum, California, USA.
- 2013: “Intersections”, MOLAA, Museum of Latin American Art, Long Beach, California, USA.
- 2013: “Tactility”, Nils Staerk Gallery, Copenhagen, Denmark.
- 2013: “MOCA´S PERMANENT COLLECTION: A selection of recent acquisitions”, Museum of Contemporary Art, Los Angeles, USA.
- 2013: “Materia Sensible”, Curator: Caroline Montenat, Museo de Arte Carrillo Gil, Mexico City, Mexico.
- 2013: “OPINIONE LATINA”, Francesca Minini Gallery, Milan, Italy.
- 2012: “PRIVACY”, Schirn Kunsthalle Frankfurt, Curator: Martina Weinhart, Germany.
- 2012: “Bajo el volcán”, Curator: Raúl Zamudio Taylor, Andrómeda Contemporáneo, San Jose, Costa Rica.
- 2012: “Tell me a story”, MOLAA, Museum of Latin American Art, curadora: Idurre Alonso, Long Beach, California, USA.
- 2012: “Sin límites”, Instituto de México en España, Madrid, Spain.
- 2012: “Una mirada múltiple: selecciones de la Colección Ella Fontanals-Cisneros”, Curator: Osbel Suárez, Museo Nacional de Bellas Artes, Habana, Cuba.
- 2012: “Pobre Artista Rico”, Curator: Willy Kautz, Casa del Lago Juan José Arreola, Mexico City, Mexico.
- 2012: “Obsessive Worlds”, Curator: Sarah Hamilton, Alexandria Museum of Art, Louisiana, USA.
Publications
- 2011: Drive and Method, authors: Gilbert Vicario, Robert C. Morgan, María Minera, Willy Kautz, Miguel Gonzalez Virgen and Gabriel de la Mora edited by Turner.
- 2011: Alegorías Capilares, author Sergio R. Blanco edited by Trilce.
- 2013: Originallyfake, authors: Gabriel de la Mora and Francisco Reyes Palma, edited by LITORAL.
Collections
- Museum of Contemporary Art, MOCA, Los Angeles, California, U.S.A.
- MOLAA, Museum of Latin American Art, Long Beach, California, U.S.A.
- Richard E. Peeler Art Center, De Pauw University, Greencastle, Indiana, U.S.A.
- The Museum of Fine Arts, Houston, Texas, U.S.A.
- El Museo del Barrio, New York., U.S.A.
- Colección Ella Fontanals-Cisneros, Miami Florida, USA
- Fundación/Colección JUMEX, Mexico City, Mexico.
- Colección Fundación Televisa, México.
- Museo de Arte Moderno, Mexico City, Mexico.
- Museo de la Cancillería, S.R.E., Mexico City, Mexico.
- Art Museum of the Americas, Organization of American States, Washington, D.C., USA
- ARTIUM, Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain.
- Centro Gallego de Arte Contemporáneo, Santiago de Compostela, Spain.
- Colección FEMSA, Monterrey, Mexico.
- MUSAS, Museo de Arte de Sonora, Hermosillo, Sonora, México.
- Colección SIVAM, Mexico City, Mexico.
- Museo del Palacio del Arzobispado, Mexico City, Mexico.
- Secretaría de Cultura del Estado de Colima, Mexico.
- Colección Universidad de Colima, Mexico.
- Colección Banco de la República, Bogotá, Colombia.
- Sayago & Pardon Collection, California, U.S.A.
- Gabriel de la Mora, “2/88”, 2011, Polipthic of fragments from photography mounted on paper, 27 x 35 in. Image courtesy of the artist
- Gabriel de la Mora, “3,936 capas de pintura / layers of paint 1A – 1B”, 2011, Acrylic on aluminum, Dptych (1A) 20.86 x 20.86 x 3.42 in. (53 x 53 x 8.7 cm) / (1B) 15.74 x 15.74 x 3.93 in. (40 x 40 x 10 cm). Image courtesy of the artist
- Gabriel de la Mora, “3,936 capas de pintura / layers of paint 1A – 1B”, 2011, Acrylic on aluminum, Dptych (1A) 20.86 x 20.86 x 3.42 in. (53 x 53 x 8.7 cm) / (1B) 15.74 x 15.74 x 3.93 in. (40 x 40 x 10 cm). Image courtesy of the artist
- Gabriel de la Mora, “11,640”, 2013, 11,640 Eggshell pieces on wood, 30 x 30 x 3.9 cm. Image courtesy of the artist
- Gabriel de la Mora, “13.8 gramos S.T.I.”, Removed acrylic, 21 x 21 cm / case 10.7 x 43 x 43 cm. Image courtesy of the artist
- Gabriel de la Mora, “13.8 gramos S.T.I.”, Removed acrylic, 21 x 21 cm / case 10.7 x 43 x 43 cm. Image courtesy of the artist
- Gabriel de la Mora, “62”, 2013, Series: El peso del pensamiento, 66 show soles, 58.3 x 84 cm. Image courtesy of the artist
- Gabriel de la Mora, “62”, 2013, Series: El peso del pensamiento, 66 show soles, 58.3 x 84 cm. Image courtesy of the artist
- Gabriel de la Mora, “A.M. 20-3”, 2011, Vintage torn Photography, 36 x 36 x 4.5 cm. Image courtesy of the artist.
- Gabriel de la Mora, “Altamirano 20 VI”, 2012, Fabric ceiling from 1882 consolidated and mounted on an aluminum strech, 112 x 172 x 3.5 cm. Image courtesy of the artist
- Gabriel de la Mora, “Altamirano 20 VI”, 2012, (photo documenting the process of the artwork). Image courtesy of the artist
- Gabriel de la Mora, “Dr. Atl 1934 – 51.8 gramos”, 2012, Removed oil and oil on canvas, triptych, 45.7 x 63.7 x 1.9 cm each. Image courtesy of the artist
- Gabriel de la Mora, “Normal” (detail), 2012, 1497 post-it flags and pencil on paper, 50 x 35 x 4.6 cm / case 61.2 x 44 x 11.5 cm. Image courtesy of the artist
- Gabriel de la Mora, “Normal (detail)”, 2012, 1497 post-it flags and pencil on paper, 50 x 35 x 4.6 cm / case 61.2 x 44 x 11.5 cm. Image courtesy of the artist
- Gabriel de la Mora, “Suelo I, II, III”, 2013, Paint and dirt on metal plate, triptych, 101 x 248.1 cm. Image courtesy of the artist
- Gabriel de la Mora, “T-1 Edison 169”, 2013, Back of wallpaper on cardboard and wood, 36.7 x 35 x 4.2 cm. Image courtesy of the artist
- Gabriel de la Mora, “T.M.C. III 1997-2013”, 2013, Removed acrylic from canvas, 48.3 x 48. 2 x 2 cm. Image courtesy of the artist
The inspiration for my recent work lies in Brazilian popular culture: its rituals and colours, and processes of patient making that are often based on repetition. This is a culture where materials become infused with beliefs and desires, ritually suffused with the promise of future realisation. Aware of this permeability between the everyday and the spiritual, between concrete matter and intangible memories and wishes, I employ objects as materials that reflect the way desires are ritualized through matter: medical information leaflets and containers, Bonfim wish ribbons and textile fragments become the ground that supports the work, both materially and symbolically. Ingesting medicine and tying knots on Bonfim ribbons are a way of making wishes, and of anxiously awaiting for blessings; fragments of textiles speak of the desire to remember and to be close. In common, these material elements point to the desire of a body that wishes for health, intimacy, love and prosperity; a fragile body that fears mortality.
Influenced by practices of weaving, knotting, tying, cutting, mending, darning, sewing, embroidering and covering, I interweave gestures, rhythms and improvisations based on the repetition of lines and colours. In the Doloridos series, I cover medical leaflets with white gouache, hushing them, and trace horizontal or vertical lines in blue, red, green or yellow. This series is predominantly white, and silent. Ladainhas, on the other hand, is a colourful and vibrant series, in which I use cut paper, Bonfim wish ribbons, textile fragments and colour pencils. It reflects the simple popular geometry of rag rugs and patchwork quilts, but contains voids, around which the lines form grids that resonate as voices in ecstasy or supplication.
These are abstractions where visual perception and bodily pulsation merge. They draw the gaze and invite the viewer to come closer, attracted by what is apparently a rigorous minimalist grid or a rich profusion of colours. As a reward to the attentive and unhurried gaze, the work unveils a surprise – its own materiality and traces of texts from the ribbons and leaflets, now illegible, offer other readings. The work is the white hush that silences words, the interval between voices. It is the colourful voices that cannot be silenced, and intone other words, words that convey belief and desire. The work relates to rituals of cure, purification and protection, and is intended as a materialization of songs of joy and pain.
These works are lamentations and litanies presented as white or colourful geometry.
Traducido del inglés
La inspiración en mi obra más reciente yace en la cultura popular de Brasil: sus rituales, colores y pacientes procesos de elaboración que a menudo se basan en la repetición. Esta es una cultura donde los materiales se funden con las creencias y los anhelos, ritualmente cubiertos con la promesa de realización futura. Al tanto de esta permeabilidad entre lo cotidiano y lo espiritual, entre la materia concreta y las memorias y deseos intangibles, uso objetos como materiales que reflejan la forma en la que los deseos son ritualizados por medio de la materia: folletos y contenedores de información médica, listones de deseos de Bonfim y fragmentos de textiles, se vuelven la base que soporta la obra, de manera material y simbólica. Ingerir medicina y hacer nudos en listones de Bonfim son ambas maneras de tener un deseo y de esperar ansiosamente por bendiciones. Piezas de textiles hablan del deseo de recordar y permanecer cercano. En común, estos elementos materiales apuntan al deseo de un cuerpo que anhela salud, intimidad, amor y prosperidad; un cuerpo frágil que teme a la mortalidad.
Influido por prácticas de tejido, anudado, amarrado, cortado, reparado, zurcido, costura, bordado y recubrimiento, entrelazo gestos, ritmos e improvisaciones basadas en la repetición de líneas y colores. En la serie Doloridos, cubro folletos médicos con gouache, silenciándolos y trazando líneas horizontales o verticales en azul, rojo, verde o amarillo. Esta serie es predominantemente blanca y silenciosa. Ladainhas, por otro lado, es una serie colorida y vibrante, en la que uso papel cortado, listones de deseos de Bonfim, fragmentos de textil y lápices de colores. La serie refleja la simple geometría popular de tapetes de trapo y colchas de retazos, pero contiene vacíos alrededor de los cuales las líneas forman retículas que resuenan como voces en éxtasis o suplicio.
Estas son abstracciones donde la percepción visual y la pulsación corporal se unen. Atraen la mirada e invitan al espectador a acercarse, intrigado por lo que aparenta ser una rigurosa cuadrícula minimalista o una rica abundancia de colores. Como recompensa a la mirada atenta y parsimoniosa, la obra revela una sorpresa: su propia materialidad y huellas de textos de los listones y folletos, ahora legibles, producen otras lecturas. La obra es el blanco silencio que calla las palabras, el intervalo entre voces. Son las voces coloridas que no pueden ser silenciadas y entonan otras palabras; palabras que transmiten creencia y deseo. La obra se relaciona con rituales de sanación, purificación y protección y es concebida como una materialización de canciones de alegría y dolor.
Estas obras son lamentos y letanías presentadas como geometría blanca o de colores.
Selected Biographical Information
Education / Training
- 1996-2001: Bachelor Degree, Gerrit Rietveld Academie, Amsterdam, The Netherlands.
Prizes / Fellowships
- 2002: StartsStipendia – Fonds BKVB-Amsterdam, The Netherlands.
- 2004: BasisStipendia – Fonds BKVB-Amsterdam, The Netherlands.
- 2006: WerkSubsidie – Fonds BKVB-Amsterdam, The Netherlands.
Solo Exhibitions
- 2012: “Pharmacia Deluxe”, Galeria Amparo 60, Recife, Brazil.
- 2010: “Doloridos-Coloridos”, Galeria PILAR, São Paulo, Brazil.
- 2010: “Abstractions to Die For”, Galeria da FAV, Goiânia, Brazil.
- 2009: “Unveil”, TETO Projects, Amsterdam, The Netherlands.
- 2008: “Caio, Felix, Perforations and Cuts”, Galeria VERMELHO, São Paulo, Brazil.
- 2007: Galerie Hein Elferink, Staphorst, The Netherlands.
- 2006: “B.L.U.E”, BalinHouseProjects, London, United Kingdom.
- 2005: Galerie van der Mieden, Antwerpen, Belgium.
- 2003: “White Shirts”, HUISRECHTS, Amsterdam, The Netherlands.
- 2000: “Objeto desejado (e para sempre) ausente – Drawings”, Museu de Arte Contemporânea-MAC Goiânia, Brazil.
Group Exhibitions
- 2012: “Beyond the Body”, WELKUNSTZIMMER Dusseldorf, Germany.
- 2011: “EMBRACED”, GustavsBergs Konsthall, Sweden.
- 2009: “Paper Under the Knife”, Museum of Arts and Design-MAD New York, USA.
- 2008: “SOFT-Autonomous Textiles”, Lands Museum, Linz, Austria.
- 2007: “Hard Candies”, MOTIVE Gallery, Amsterdam, The Netherlands.
- 2007: “2MOVE: Double Movement”, Sala Verónicas/Centro Párraga, Murcia, Spain.
- 2006: “G.E.B.O.R.D.U.U.R.D.”, Textil Museum Tilburg, The Netherlands.
- 2005: “Bock mit Inhalt“, Stedelijk Museum CS, Amsterdam, The Netherlands.
- 2004: “LOSS”,Célio Braga, Iris Einchenber, Suska Macket- Stedelijk Museum Bureau Amsterdam-SMBA, Amsterdam, The Netherlands.
- 2003: “B.L.U.R.”, Stedelijk Museum, Amsterdam, The Netherlands.
- 2002: “Hair Stories”, Adam Baumgold Gallery, New York, USA.
- 2002: “DISPLAY”, Stedelijk Museum, Amsterdam, The Netherlands.
Publications
- Drawing Now (Galerie Hein Elferink, 2011).
- Manifesta Journal – Journal of Contemporary Curatorship- Nr 7 2009/2010 (Mieke Bal).
- Cutting Edges-Contemporary Collage (Gestalten – Berlin) 2011.
- Jenseits Beyond the Body (Weltkunst Zimmer, Dusseldorf – 2009).
- Slash-Paper Under the Knife (Museum of Arts and Design-MAD NY, 2009).
- Exit32 – Estéticas Migratorias – Mieke Bal (Madrid, 2008).
- Célio Braga ‘Deliriously’, Ernst van Alphen, Sharing a common Skin (Staphorst, 2006).
- G.E.B.O.R.D.U.U.R.D (2006 ISBN 90 70680 750) Louise Schouwenberg ‘LOSS’ Braga/Eichenberg/Mackert, ISBN 90-809189-1-1, 2004.
- Stedelijk Museum Bulletim (Nr.06 2004) Loss (Marjan Boot).
- DISPLAY – A proposal for Municipal Art Acquisitions 2000/2001 – Stedelijk Museum Amsterdam.
- Felt/Filz- Arnoldsche Art Publishers, 2000 (peter Schmitt).
Collections
- Textile Museum Tilburg, The Netherlands MAC Goiás.
- Goiânia, Brazil.
- CODA Musem Apeldoorn, The Netherlands.
- Colecão da FAV-UFG-Go, Goiânia, Brazil.
- Marzee Collection, Nijmegen, The Netherlands.
- Fundação Jaime Camâra, Goiânia, Brazil.
- Rotasa Trust Collection, USA.
- Armando Andrade Collection, Peru.
- Chantal van Erven Dorens Collection, Amsterdam/London.
- Collectie Pieter en Marieke Sanders, Aerdenhout, The Netherlands.
- Collectie Sepp Bader, The Netherlands.
- Stedelijk Musem Amsterdam, The Netherlands.
Links
- ‘Slash: Paper Under the Knife’ overview with Chief Curator David McFadden
- ‘Full Blown’, 2004
- SMBA Amsterdam Stedelijk Museum
- Célio Braga, ‘Purple’ (Doloridos), 2011, Fragments of textiles, photography and gouache on medicine leaflets, 125 cm x 125 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil
- Célio Braga, ‘Yellow’ (Doloridos), 2011, Fragments of textiles, photography and gouache on medicine leaflets, 125 cm x 125 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil
- Célio Braga, ‘Vermelho’ (Doloridos), 2010/2011, Fragments of textiles, photography and gouache on medicine leaflets, 125 cm x 125 cm. Private Collection
- Célio Braga, ‘Blue’ (Coloridos), 2010, Wishing ribbons, fragments of textiles and oil on canvas, 100 cm x 100 cm. Image courtesy of Galeria Amparo 60, Recife, Brazil.
- Célio Braga, ‘Grey’ (Coloridos), 2011, Wishing ribbons, fragments of textiles, fragments of photography and oil on canvas, 100 cm x 100 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil
- Célio Braga, ‘Black’ (Coloridos), 2011, Wishing ribbons, fragments of textiles, fragments of photography and oil on canvas, 100 cm x 100 cm. Image courtesy of Elisio Yamada Collection.
- Célio Braga, ‘Untitled’ (Litanies), 2010, Cuts and color pencil on paper, 70 cm x 65 cm. Image courtesy of Galeria Amparo 60, Recife Brazil.
- Célio Braga, ‘Blue’ (Litanies), Blue paper, fragments of textiles, fragments of photography and wishing ribbons on medicine leaflets, 50 cm x 65 cm (irregular). Image courtesy of Galeria Pilar, São Paulo, Brazi
- Célio Braga, ‘Green’ (Litanies), 2012, Color pencil and oil color on cut paper, 120 cm x 120 cm. Image courtesy of the artist.
- Célio Braga, ‘Untitled’ (Litanies), 2011, Wishing ribbons, color pencil and oil color on cut paper, 125 cm x 125 cm. Image courtesy of Galeria Amparo 60, Recife, Brasil
- Célio Braga, ‘Untitled’ (Litanies), 2011, Fragments of textiles and color pencil on paper, 120 cm x 120 cm. Image courtesy of Galeria Amparo 60, Recife, Brasil
- Célio Braga, ‘Untitled’ (Litanies), 2012/2013, Color pencil on paper, 150 cm x 125 cm. Image courtesy of the artist
- Célio Braga, ‘Untitled’ (Litanies), 2012, Color pencil and oil color on paper, 150 cm x 125 cm. Image courtesy of the artist.
- Célio Braga,’Untitled’ (Litanies), 2012, Color pencil on paper, 150 cm x 125 cm. Image courtesy of the artist
- Célio Braga, ‘Untitled’ (Litanies), 2013, Wishing ribbons, fragments of textiles, fragments of photography and color pencil on cut paper, 150 cm x 125 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil.
My practice is centred on an exchange of glances between Peruvian modernity and its internal conflicts, and the romantic observation of ruins. I work with archival images and texts mainly about the modern architecture boom of the 1940s and 1950s in Latin America, especially in Peru. I try to make these images collide with each other; producing a series of new relationships that seek to reveal hidden aspects of the official discourses that loaded each image. I use architecture as a clear example of the promise of a modernity that never fully arrives.
Mi práctica se centra en el intercambio de miradas entre la modernidad peruana y sus conflictos internos, y la observación romántica de las ruinas. Trabajo con imágenes de archivo y textos sobre el auge de la arquitectura moderna de los años 1940 y 1950 en América Latina y especialmente en el Perú. Me interesa hacer chocar estas imágenes entre sí, produciendo nuevas relaciones que traten de revelar aspectos ocultos de los discursos oficiales que cargaba cada imagen. Utilizo a la arquitectura como un ejemplo claro de la promesa de una modernidad que jamás termina de llegar.
Selected Biographical Information
Education / Training
- 2010: Bachiller en Arte con mención en Pintura. Pontificia Universidad Católica del Perú, Facultad de Arte, Lima, Peru.
Prizes / Fellowships
- 2012: III Concurso latinoamericano de pintura ‘Arcos Dorados’, ArteBA, Buenos Aires, Argentina.
- 2012: XV Concurso de artes visuales ‘Pasaporte Para un Artista’ (tercer puesto), Embajada de Francia en el Perú, Lima, Peru.
- 2009: Premio de la Crítica a la especialidad de pintura’, Facultad de Arte-PUCP, Lima, Peru.
- 2009: Premio ‘Adolfo Winternitz’ para sexto año de pintura, Facultad de Arte-PUCP, Lima, Peru.
- 2006: Premio ‘Adolfo Winternitz’ para cuarto año de pintura, Facultad de Arte-PUCP, Lima, Peru.
Solo Exhibitions
- 2013: “Y ver los transatlánticos llegar” La Ene, Buenos Aires, Argentina.
- 2013: “Todo lo sólido” 80M2 Livia Benavides, Lima, Peru.
Group Exhibitions
- 2013: “Parecía inquebrantable”, Galería Municipal de Arte Pancho Fierro, Municipalidad Metropolitana de Lima, Peru.
- 2012: “Solo proyectos”, 80M2 Livia Benavides, Lima, Peru.
- 2012: “Pedagogías”, Galería de la Escuela Superior de Artes Visuales Corriente Alterna, Lima, Peru.
- 2011: “Licencias para narrar“,