Abstraction in Action Eduardo Santiere: Multitudes https://abstractioninaction.com/happenings/eduardo-santiere-multitudes/


Artist: Eduardo Santiere

July 27, 2016 – September 7, 2016
Henrique Faria 
Buenos Aires, Argentina

This is Eduardo Santiere’s medium and matter: surface and volume. With graphite, colored pencils, sharp materials and infinite meticulousness, Santiere composes universes whose scale we cannot be sure of. He constructs a Scenario for an Empty World [Escenario para un mundo vacío] – one of his “scratchings on exhibit – subjecting the paper’s surface to incisions and tearings that liberate it from the pressure that made it smooth and regular. He brings out sculptural reliefs that lightly dangle from the matter they have been detached from. It is a question of a morphological transformation that moves from the void to abundance.

The paper’s two-dimensionality is just as roughly subjugated in the works in which Santiere uses conventional drawing materials. Light graphite lines surround or connect points of color of various densities, colored ovoid forms – flat or on lacerated paper – are interconnected — the paper erupts and spumes like foam. We lose ourselves in studying the position, shape, movement and mutual relation of the microorganisms or heavenly bodies hovering over the white of the page. We waver between surrendering to arbitrariness or hunting for a system.

September 2, 2016 Monochrome Undone https://abstractioninaction.com/projects/monochrome-undone/

Monochrome Undone
SPACE Collection

Curated by Cecilia Fajardo-Hill
October 24, 2015 – April 1, 2016
SPACE, Irvine, CA

Artists: Ricardo Alcaide, Alejandra Barreda, Andrés Bedoya*, Emilio Chapela, Eduardo Costa, Danilo Dueñas, Magdalena Fernández, Valentina Liernur, Marco Maggi, Manuel Mérida, Gabriel de la Mora, Miguel Angel Ríos, Lester Rodríguez, Eduardo Santiere, Emilia Azcárate, Marta Chilindrón, Bruno Dubner, Rubén Ortíz-Torres, Fidel Sclavo, Renata Tassinari, Georgina Bringas, Abraham Cruzvillegas, Thomas Glassford, José Luis Landet, Jorge de León, Bernardo Ortiz, Martin Pelenur, Teresa Pereda, Pablo Rasgado, Ricardo Rendón, Santiago Reyes Villaveces, Mariela Scafati, Gabriel Sierra, Jaime Tarazona, Adán Vallecillo, Horacio Zabala.

The monochrome as a focus in the SPACE Collection began in a spontaneous form and soon became a systematic field of research. This exhibition is about the contemporary monochrome in Latin America. The monochrome is one of the most elusive and complex art forms of modern and contemporary art. If we think about its origins or meaning, we find that the monochrome is many contradictory things. The monochrome is neither a movement nor a category; it is not an “ism” or a thing. It may be painting as object, the material surface of the work itself, the denial of perspective or narrative, or anything representational. The monochrome may be a readymade, a found object, or an environment—anything in which a single color dominates. The monochrome can be critical and unstable, especially when it dialogues critically or in tension with modernism. This exhibition is organized into four different themes: The Everyday Monochrome, The White Monochrome, The Elusive Monochrome and The Transparent Monochrome. These themes have been conceived to create context and suggest interpretations that otherwise might be illegible.  These may overlap at times, pointing to the multiplicity of content in many of the works. The unclassifiable and variable nature of the monochrome in Latin America today is borne of self-criticality and from unique Latin contexts, to exist within its own specificity and conceptual urgency.

To purchase the catalogue click here.

El monocromo, como enfoque de SPACE Collection, comenzó de forma espontánea y a poco se convirtió en un campo de investigación sistemático. Esta exposición trata sobre el monocromo contemporáneo en América latina. El monocromo es una de las formas de arte más elusivas y complejas del arte moderno y contemporáneo. Si reflexionamos acerca de sus orígenes o su significado, nos encontramos con que puede albergar muchas cosas contradictorias. El monocromo no es un movimiento ni una categoría; no es un “ismo” ni una cosa. Puede ser la pintura como objeto, la superficie material de la obra, la negación de la perspectiva o de todo lo representativo o narrativo. El monocromo puede ser un readymade, un objeto encontrado, un cuadro o un ambiente: cualquier cosa definida como una superficie cromáticamente uniforme donde un solo color predomina. El monocromo puede ser crítico e inestable, especialmente cuando se dialoga críticamente o en tensión con el modernismo. Esta exposición está organizada en cuatro temas: el monocromo cotidiano, el monocromo blanco, el monocromo elusivo y el monocromo transparente. Estos temas han sido concebidos a fin de crear un contexto y sugerir interpretaciones que de otra manera podrían ser ilegibles. Éstos pueden superponerse a veces, apuntando a la multiplicidad de contenidos en muchas de las obras. La naturaleza indeterminada, inclasificable y variable del monocromo en Latinoamérica hoy en día es producto de la autocrítica y de los contextos propios, para existir dentro de su propia especificidad y urgencia conceptual.

Para comprae el libro haz clic aquí.

September 25, 2015 Eduardo Santiere: Traces of Creation https://abstractioninaction.com/happenings/eduardo-santiere-traces-creation/


Artists:  Anna Jóelsdóttir, Ásmundur Ásmundsson, Bjarni H Þórarinsson & Goddur, Creighton Michael, Davíð Örn Halldórsson, Eduardo Santiere, Eiríkur Smith, Friederike von Rauch, Georg Guðni,Guðrún Kristjánsdóttir, Hildur Bjarnadóttir, Hreinn Friðfinnsson, Hörður Ágústsson, Ilmur Stefánsdóttir, Ingólfur Arnarsson, John Fraser, Jónatan Grétarsson, Jónína Guðnadóttir, Karl Kvaran, Ólafur Elíasson & Elías Hjörleifsson, Ólafur Ólafsson & Libia Castro, Pétur Thomsen, Rúna (Sigrún Guðjónsdóttir), Sigurður Guðjónsson,Sirra Sigrún Sigurðardóttir and Stefán Jónsson.

Traces of Creation
June 21 – August 24, 2014

An exhibition of works that have been added to the Hafnarborg collection in the last five to ten years, made between the years 1952 and 2014.

July 1, 2014 Eduardo Santiere: Inter-Spaces https://abstractioninaction.com/happenings/eduardo-santiere-inter-spaces/


Artist: Eduardo Santiere

June 26 – August 1, 2014
Henrique Faria Fine Art
New York, USA

Today, most of us are quite comfortable with Google maps, and the ease with which we are able to shrink our search from a continental scope all the way down to a street view in a matter of seconds. The enhanced clarity that comes with each click of the mouse leads us to greater detail and ultimately to something we can easily relate to. In a similar way, one can easily become sucked into a drawing by Eduardo Santiere, graduating from an appreciation of the work as a cosmos on paper to getting lost in the most minute mark. The difference is that the map search takes us on a linear journey from macro to micro, whereas Santiere offers up every layer simultaneously, an entire world where neurons and Neptune are treated as equals.

Biologically, our brains are not wired for a non-hierarchical understanding of our world, either real or imagined, and we can’t help but impose some organization, even subconsciously. The smallest detail in any given quadrant of one of Santiere’s works—each blot, elliptical form, scratch or puncture— is arguably as significant as any other, or even as important as the piece in entirety. So while we may be programmed to organize these disparate parts into a global whole, something about his unique treatment of the forms forces us to look and perceive each part in a multi-textural way.

Santiere claims that he finds truth and beauty through the process of drawing. Without going from pre-conceived images, but rather allowing imperceptible traces and a kind of automatic marking process to guide him, he comes to a composition that vibrates with life. Once he turns these works out into the world, each of us digests that energy in a different way. The elements of his drawing have been likened to cells, computer circuitry, musical notation, outer space, utopian urban plans and dreamscapes, to name only a few. One thing each of these interpretations has in common, however, is growth or movement.

Santiere’s largest work to date, titled Inter-Space is unique in that he sticks to graphite solely, removing the color that is an integral part of much of his work. As the name implies, we see a complex web of stipple dots and clusters that conjure galactic bodies and constellations, seen in reverse negative. The individual dots seem to be magnetically drawn together at certain spots, perhaps slave to a pattern or rhythm of some unknown origin. It is somehow both violent and balletic, with markings that look to be the result of forceful contact with the paper, yet when viewed as a group seem to float and dance across the page.

In another series in the exhibition, titled Symphonies, we have a fairly encyclopedic sampling of Santiere’s gestural vocabulary. In particular, his “scratching”, as he calls it, is the result of his careful manipulation of the paper’s surface. This treatment creates a kind of relief that is similar to the burr created in the dry-point etching technique. The use of graphite and colored pencils adds yet another layer. In music, the term simultaneity is used to describe musical texture that occurs at the same time instead of in succession. In this musically-inspired series, it seems Santiere has visualized this construct.

Santiere’s incredible ability to render life and energy, both as whole forms and as individual stimuli, offers us a rare opportunity to experience art in a rich, textured way. Whether we are imagining our universe or an imaginary microscopic universe that exists on a speck of dust within our planet, experiencing simultaneity in art.

Ginger Gregg Duggan and Judith Hoos Fox, curators

Image: Eduardo Santiere, “Blind Date” (Detail), 2010, Graphite, colored pencil and scratching on paper, 11 1/8 x 15 in. (28.3 x 38 cm)
June 19, 2014 Eduardo Santiere: Lo contrario de la magia https://abstractioninaction.com/happenings/eduardo-santiere-lo-contrario-de-la-magia/


Artists: Héctor Meana, Aimé Pastorino, Eduardo Santiere, Julián Terán, Leticia Obeid, Nuna Mangiante, Pablo La Padua, Rodolfo Marqués, Julián D’Angiolillo.

Lo contrario de la magia
March 28 – July 27, 2014
Curator: Lux Lindner
Museo de Arte Latinoamericano de Buenos Aires
Buenos Aires, Argentina

La exposición propone un acercamiento a la producción reciente de artistas cuyos procesos de trabajo se alejan de los facilismos y promesas de inmediatez de la magia, y están más ligados a la paciencia y descomposición propias del método científico. Las aproximaciones son tan variadas como lo es el recorrido artístico de cada uno, aunque se ha buscado un predominio del dibujo.

April 11, 2014 Abstraction in Action: ARCOmadrid 2014 https://abstractioninaction.com/happenings/abstraction-action-arcomadrid-2014/


ARCOmadrid 2014
19–23 February 2014
Halls 7 & 9, Feria de Madrid
Booth 7H02
Madrid, Spain

Abstraction in Action presents its online platform at an institutional booth during the fair, allowing visitors to interact with the database while gaining a deeper understanding of the project and the artists involved. The website will launch a new “Projects” section during the fair, featuring exhibitions, site-specific installations, and events that AIA has produced. Along with that, AIA features new artists:

Leyla Cárdenas (Colombia, 1975), John Mario Ortiz (Colombia, 1973), G. T. Pellizzi (Mexico, 1978), Rosario López Parra (Colombia, 1970), Macaparana (Brazil, 1952), Fidel Sclavo (Uruguay, 1960), KIRIN (Argentina, 1953), Bernardo Corces (Argentina, 1988), Eduardo Santiere (Argentina, 1962), Georgina Santos (Mexico, 1988), Santiago Reyes Villaveces (Colombia, 1986), Rodrigo Sassi (Brazil, 1981), Nicolás Lamas (Peru, 1980), Nicolás Consuegra (Colombia, 1976), María Ezcurra (Argentina, 1973), Jorge Pedro Núñez (Venezuela, 1976), Jaime Ruiz Otis (RUIZCYCLE) (Mexico, 1976), Gabriel Acevedo Velarde (Peru, 1976), Edwin Monsalve (Colombia, 1984), Chiara Banfi (Brazil, 1979), Barbarita Cardozo (Colombia, 1975), Ana Belén Cantoni (Peru, 1983), Óscar Figueroa (Costa Rica, 1986), and Silvana Lacarra (Argentina, 1962)


February 25, 2014 Eduardo Santiere https://abstractioninaction.com/artists/eduardo-santiere/
Translated from Spanish

I consider myself sensitive to human relations, to the context of society and the future, to the multiple possibilities of existence, to imagination, to music… all that surrounds me is present in my work, and in the moment of creation.

I do not seek preconceived images. I find them in my work process, enjoying from the sharpest and flashy trace to the most delicate and imperceptible detail, creating an intimate atmosphere between the viewer and the work.

I define the image of my drawings with these words:

Partes fragmentadas de un todo

Que define un futuro incierto

La desaparición del ser humano

Convirtiéndose en más automático, más nada, más ilusión.


Me considero sensible a las relaciones humanas, al contexto de la sociedad y del futuro; a las múltiples posibilidades de la existencia, a la imaginación, a la música… todo lo que me circunda incide en mi obra, en el momento creativo.

No busco imágenes preconcebidas. Las encuentro en mi proceso de trabajo, gozando desde el trazo más punzante y llamativo hasta el delicado detalle, imperceptible, creando una atmósfera intimista entre el observador y la obra.

Defino la imagen de mis dibujos con estas pocas palabras:

Fragmented parts of a whole

Which defines an uncertain future

Disappearance of the human being

Becoming more automatic, more nothing, more illusion.

Selected Biographical Information

Education / Training

Prizes / Fellowships

Solo Exhibitions

Group Exhibitions




February 19, 2014