Abstraction in Action KIRIN, Fidel Sclavo, Eduardo Stupía: The Lines of the Hand https://abstractioninaction.com/happenings/kirin-fidel-sclavo-eduardo-stupia-lines-hand/


Artists: Carlos Arnaiz, Ernesto Deira, Sarah Grilo, KIRIN, Juan Lecuona, Lucía Mara, Georges Nöel, Kvĕta Pacovská, César Paternosto, Fidel Sclavo, Eduardo Stupía, Valeria Traversa, Jan Voss.

The Lines of the Hand
November – December, 2016
Jorge Mara – La Ruche
Buenos Aires, Argentina

December 27, 2016 Kirin, Macaparana, Sclavo, Stupía: El color de los sueños https://abstractioninaction.com/happenings/kirin-macaparana-sclavo-stupia-el-color-de-los-suenos/

Fidel Sclavo- Mixta sobre papel -36 x 36 cm.- año 2012

Artists: Arnaiz, Greco, Grilo, Kemble, Kirin, Lecuona, Lío, F. Muro, Macaparana, Minujín, Pakovskà, Pucciarelli, Sacerdote, Sakai, Sclavo, and Stupía.

El color de los sueños
November 6 – December 30, 2015
Jorge Mara La Ruche
Buenos Aires, Argentina

A blue stain on the white fabric and beside it the words: ceci-est-la-couleur-de-mes- rêves. That is how Joan Miró named his monochrome picture.

Many other artists – before and after- felt attracted by the use of a single color in their works. Klee, Kandinsky, Fontana, Klein and Malevich painted monochrome works. Sometimes the dominance of one color is inextricably associated with the artist: Ives Klein is blue, Beuys and Jasper Johns are identified with gray, Rothko and Tapies with roasted reds. Black is Goya and Ad Reinhardt, Millares and Saura too. Gray evokes Joseph Beuys, Jasper Johns and Robert Morris. Blue is Miró; red belongs to Matisse and Newman. Roasted red belongs to Rothko and Tapies. Black is Goya and Millares, Ad Reinhardt, Saura …

Art history provides examples of various possible meanings for monochrome painting. This is sometimes negation and sometimes affirmation. The monochrome is a vacuum which, by definition, means absence of image. The rectangle of a single color is a tabula rasa on which the unique relationship that it counts is the one between the pictorial surface and the viewer.

The first fully monochrome paintings, three fabrics that Rodchenko painted in 1915, Red, Yellow, Blue, expressed a return to the primary colors, or in other words, the principle ones. For artists of the revolutionary vanguard, the goal was to go “beyond the painting”. The tabula rasa corresponds to the revolutionary impulse of starting over: Russian and Polish constructivists, the School of New York in the post-war, Burri, Fontana and Manzoni in Italy, Yves Klein in Paris and the Zero Group in Germany use monochromes in the immediate post war. During Franco’s dictatorship the Spanish abstraction is characterized by mostly almost black paintings. Blacks are typical Saura pictures, including a series based on the black paintings from Goya. In fact, the first specific identification of single color paintings in art history goes back to the series of frescoes painted by Goya in the Quinta del Sordo, known as “black paintings”. His Perro semi-hundido (1819) is certainly the first monochrome works of art history.
From there onwards, there were and are many artists who aspire- through the use of one color only – an eloquent silence, to an irradiation of light and color, or an unrelenting darkness. In this exhibition we present various works, mostly related to our gallery artists who explore in their works, and in their own way, this singular and complex way of using a dominant color.

November 24, 2015 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 Kirin, Macaparana, Fidel Sclavo, Eduardo Stupía: Déjà Vu https://abstractioninaction.com/happenings/kirin-macaparana-fidel-sclavo-eduardo-stupia-deja-vu/

Screenshot 2014-12-15 17.48.26

Artists: Abot Allievi, Arnaiz Dipierro, Grilo Hlito, Kirin, Macaparana, Lucía Mara, Fabio Miniotti, Fidel Sclavo, Eduardo Stupía, Ana Sacerdote.

Déjà Vu
November 17, 2014 – March 6, 2015
Galería Jorge Mara La Ruche
Buenos Aires, Argentina

Selección de obra de artistas de la galería.

January 14, 2015 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 Macaparana, Sclavo: Rojo(s) https://abstractioninaction.com/happenings/macaparana-sclavo-rojos/

Screenshot 2014-02-11 16.07.03

Artists: Arden Quin, Carlos Arnaiz, Estrada, José Antonio Fernández-Muro, Sarah Grilo, Juan Lecuona, Macaparana, Kvĕta Pacovská, Cesar Paternosto, Ana Sacerdote, Fidel Sclavo, Torner

February 3 – March 6, 2014
Jorge Mara – La Ruche Gallery
Buenos Aires, Argentina

February 21, 2014 Fidel Sclavo https://abstractioninaction.com/artists/fidel-sclavo/
Translated from Spanish

I have always aimed for my work to speak of that which grazes silence, but it is full of voices.

Sometimes imperceptible, in others, in a very low volume.

In a similar way to what happens with the beginning of homeopathy, the more subtle the dissolution is, the more intense its effect will be. The slighter the stimulus is, the more powerful the reaction will be.

A whisper tends to be more powerful than a scream. A small noise in the garden ends up scaring more than a grandiloquent thunder.

To focus there, where there appears to be nothing—and after some careful attention—turns out to be a territory filled of things that speak in a low voice.

As soon as they are perceived and appear, they cannot be silenced.

A great part of my work on paper is like letters that have not been read. They have been written in a language that we don’t recognize at a first glance.

A list of what stands still. A detailed index of that which doesn’t exist.

A meticulous catalogue of the impossible.

The group of papers—sometimes paper cutting, whit incisions, marked, or with perforations—ends up generating an alphabet. A grid more or less uniform or disperse, from which we can device an unusual calligraphic system, with cuneiform memories, a sheet of writing which we do not know how to decipher, but we know it is there, latent,  under those signs and that order that forms words, phrases, and full sentences. We can sense their existence beyond their apparent secrecy. A fragile Rosetta stone. A letter that we receive, ethereal, from another place, but we don’t know in which language it has been written.

And it waits there, still.

Apparently monochromatic from the lights and shadows resulting from the cuts and interventions on the paper, they generate countless hues and semitones within each color, which increase the sense of range of each sign not written out.


Siempre he intentado que mi obra hablase sobre eso que roza el silencio, pero está lleno de voces.

A veces, imperceptible. En otras ocasiones, a un volumen muy bajo.

De manera similar a lo que sucede con el principio de la homeopatía, cuanto más sutil es la disolución, más intenso su efecto. Cuanto más leve el estímulo, más poderosa la reacción.

El susurro suele ser más poderoso que el grito. Y el pequeño ruido en el jardín termina asustando mucho más que el trueno grandilocuente.

Hacer foco allí, donde parece que no hay nada, y -tras unos minutos de atención- pasa a ser un territorio repleto de cosas que hablan en voz baja.

Y una vez que son percibidas y aparecen, ya no se callan.

Gran parte de mi obra sobre papel son como cartas no leídas. Escritas en un idioma que no reconocemos a simple vista.

Una lista de lo que permanece quieto. Un pormenorizado índice de lo inexistente.

Un minucioso catálogo de lo imposible.

El conjunto de papeles, a veces calados, con incisiones, marcados o con perforaciones termina generando un alfabeto. Una grilla más o menos uniforme o dispersa, de la que puede adivinarse un inusual sistema caligráfico, con reminiscencias cuneiformes, una plancha de escritura. La cual no sabemos decodificar del todo, pero sabemos que está allí, latente, bajo esos signos y ese orden que forman palabras, frases y oraciones completas, de las que llegamos a intuir su existencia, más allá de su aparente hermetismo. Una piedra de Roseta frágil. Una carta que nos llega, etérea, desde algún lado, pero no sabemos el idioma en que ha sido escrita.

Y allí espera, quieta.

En su aparente monocromía, las luces y sombras resultantes de los calados e intervenciones sobre el papel, generan incontables matices y semitonos dentro de cada color, que amplían el rango y sentido de cada signo no escrito.

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February 19, 2014