- Andrea Canepa, “A second chance to rephrase the question”, 2013, Wool on canvas, digital print, glass, wooden shelfs, Variable dimensions. Site-specific project. Location: Wu Galería, Lima, Peru. Photo credit: the artist.
- Andrea Canepa, “Paisaje con cabaña “, 2013, Series: A second chance to rephrase the question, Wool on canvas, 27 x 37 x 4 cm. Colección privada, Lima. Photo credit: the artist.
- Andrea Canepa, “Paisaje con molino”, 2013, Series: A second chance to rephrase the question, Wool on canvas, 30 x 24,7 x 4 cm. Colección privada, Lima. Photo credit: the artist.
- Andrea Canepa, “Arreglo de flores en cesto”, 2013, Series: A second chance to rephrase the question, Wool on canvas, 25 x 25 x 4 cm. Colección privada, Lima. Photo credit: the artist.
- Andrea Canepa, “Caballo y potro con arbol”, 2013, Series: A second chance to rephrase the question, Wool on canvas, 24,5 x 18 x 4 cm. Colección privada, Lima. Photo credit: the artist.
- Andrea Canepa, “Campesina”, 2013, Series: A second chance to rephrase the question, Wool on canvas, 40,5 x 18,5 x 4 cm. Private collection. Photo credit: Edi Hirose.
- Andrea Canepa, “Plaza con monumento”, 2013, Series: A second chance to rephrase the question, Wool on canvas, 26 x 19,5 x 4 cm. Sammlung Goetz. Photo credit: Edi Hirose.
- Andrea Canepa, “Green Piece(s)”, 2013, Cardboard puzzle assembled from 8 different puzzles, 50 x 70 cm. Private collection, Lima. Photo credit: the artist.
- Andrea Canepa, “Blue Piece(s)”, 2013, Cardboard puzzle assembled from 8 different puzzles, 50 x 70 cm. Private collection, Lima. Photo credit: the artist.
- Andrea Canepa, “Lineas de desplazamiento”, 2014, Tempera and ink on paper, Variable dimensions. Site-specific project. Location: Volta Art Fair, Basel, Switzerland. Photo credit: Nicholas Winter.
- Andrea Canepa, “Unir los puntos”, 2014, Series: Lineas de desplazamiento, Tempera and ink on paper, 98 x 149 cm. Private collection, London. Photo credit: Miguel Ramos Alonso.
- Andrea Canepa, “Círculo Cromático”, 2014, Series: Lineas de desplazamiento, Tempera and ink on paper, 90 x 90 cm. Private collection, London. Photo credit: Miguel Ramos Alonso.
- Andrea Canepa, “Línea de tiempo”, 2014, Series: Líneas de desplazamiento, Tempera and ink on paper, 25 x 430 cm. Photo credit: the artist.
- Andrea Canepa, “Líneas 5”, 2014, Series: Líneas por número / Líneas de desplazamiento, Tempera and ink on paper, 21 x 27,5 cm. Photo credit: Miguel Ramos Alonso.
- Andrea Canepa, “Líneas 10”, 2014, Series: Líneas por número / Líneas de desplazamiento, Tempera and ink on paper, 21 x 27,5 cm. Photo credit: Miguel Ramos Alonso.
Translated from Spanish
In recent years, I have focused on the modern tendency of trying to simplify the complexity of the world with the aim to control that which escapes the limits of our understanding.
We tend to categorize, organize, and administer reality as if it was a set of and independent phenomena, creating a system that we take as natural.
My work stems from the alteration of the order in which information is presented. In some cases this modification uncovers some meanings that used to remain hidden under the imposition of a logic that assumes itself as the “correct one.” In others, by schematizing the information previously schematized, both synthesis systems cancel each other out and return mere forms and colors lacking any functionality.
Through my work, I hope to make evident that the regularity of the world obeys a set of rules that as such, they could have been different. In other words. I hope to point out that all logic of functionality, whatever it is, could be different and thus not necessary in itself.
En los últimos años, me he enfocado en la tendencia moderna a intentar simplificar la complejidad del mundo con miras a controlar aquello que escapa los límites de nuestro entendimiento.
Tendemos a categorizar, organizar y administrar la realidad como si se tratase de un conjunto de fenómenos aislados e independientes, creando un sistema que tomamos como natural.
Mi trabajo parte de la alteración del orden en el que la información es presentada. En algunos casos esta modificación libera ciertos significados que permanecían ocultos bajo la imposición de una lógica que se asume como “la correcta”. En otros, al esquematizar la información previamente esquematizada, ambos sistemas de síntesis se anulan entre sí, devolviéndonos meras formas y colores desprovistos de cualquier sentido funcional.
A través de mi obra, pretendo dar cuenta de que la regularidad del mundo obedece a un conjunto de reglas que, como tales, podrían haber sido distintas. En otras palabras, intento señalar que toda lógica de funcionamiento, sea como sea, podría ser diferente y, por lo tanto, no es necesaria en sí misma.
Selected Biographical Information
Education / Training
- 2007-2008: Master en Artes Visuales y Multimedia, Universidad Politécnica de Valencia, Valencia, Spain.
- 2004-2006: Licenciatura en Bellas Artes, Universidad Politécnica de Valencia, Valencia, Spain.
- 2000-2003: Facultad De Arte, Pontificia Universidad Católica del Perú, Lima, Peru.
- 1998-1999: Estudios Generales Letras, Pontificia Universidad Católica del Perú, Lima, Peru.
Prizes / Fellowships
- 2014: Premio Miquel Casablancas, Sant Andreu Contemporani, Barcelona, Spain.
- 2014: Premio Arco Comunidad de Madrid para Jóvenes Artistas, Comunidad de Madrid, Madrid, Spain.
- 2013: Premio Generaciones, Fundación Caja Madrid, Madrid, Spain.
- 2013: Beca Endesa para Artes Plásticas, Fundación Endesa, Teruel, Spain.
- 2012: Pasaporte para un artista (segundo puesto), Alianza Francesa y Embajada de Francia en el Perú, Lima, Peru.
- 2011: Beca de Formación Pilar Juncosa i Sotheby’s, Fundació Pilar i Joan Miró, Mallorca, Spain.
- 2010: Premio Swab de Dibujo, Feria de Arte Contemporáneo Swab, Barcelona, Spain.
- 2008: Certamen Jóvenes Creadores, Ayuntamiento de Madrid, Madrid, Spain.
- 2006: Valencia Crea, Ayuntamiento de Valencia, Valencia, Spain.
Solo Exhibitions
- 2013: “Ejercicios de Localización”, Galeria L’ Imaginaire, Alianza Francesa, Lima, Peru.
- 2013: “Ejercicios de Localización“, Galería Rosa Santos, Valencia, Spain.
- 2013: “Ornamento y Sistema“, Wu Galería, Lima, Peru.
- 2011: “The Fragile Assembly of Everyday Life”, LAB. Laboratorio de Arte Joven, Murcia, Spain.
- 2009: “El Revés de lo Doméstico”, Galería Rosa Santos, Valencia, Spain.
Group Exhibitions
- 2014: “Generación 2014, Proyectos de arte Caja Madrid”, La Casa Encendida, Madrid, Spain.
- 2013: “As Everything Moves“, Node Center, Berlin, Germany.
- 2013: “Expedición Amazonas”, Galería Pancho Fierro, Lima , Peru.
- 2012: “La tiranía de la intimidad”, Centro Cultural de España, Lima, Peru.
- 2009: “Dibujo: Nuevas Propuestas”, Galería 80m2, Lima, Peru.
Collections
- CA2M: Centro de Arte 2 de Mayo, Madrid, Spain.
- Fundación Caja Madrid, Madrid, Spain.
- IVAM, Instituto Valenciano de arte Moderno, Valencia, Spain.
- Colección DKV Arte y Salud, Valencia, Spain.
- Sammlung Goetz, Munich, Germany.
Through my work I have shown a proclivity to failure or the decaying associated to the Mexican urban landscape, aspects of modernist culture and traces of art history. My practice has explored the urban ruin – including paintings and photographs of halted projects along Mexico’s highways (Highway Follies); abandoned billboards that become theatre-like backdrops therefore theatricalizing failed capitalist strategies (Espectaculares), or the problems and contradictions that arise when engaging with iconic art works (No A trío A or Cuadrado Negro).
Traducido del inglés
A través de mi obra he mostrado una proclividad al fracaso o a la decadencia asociada al paisaje urbano de México, aspectos de la cultura modernista y las huellas de la historia del arte. Mi práctica ha explorado la ruina urbana, incluyendo pinturas y fotografías de proyectos inconclusos a lo largo de las carreteras de México (Highway Follies), espectaculares abandonados que se convierten en telones de fondo teatrales, por tanto teatralizando estrategias capitalistas fracasadas (Espectaculares) o los problemas y contradicciones que surgen al abordar obras de arte icónicas (No A trío A or Cuadrado Negro).
Selected Biographical Information
Education / Training
- 2006-2008: Master of Fine Arts, The Slade School of Fine Art, London, United Kingdom.
- 1999-2003: Bachelor of Fine Arts, Rhode Island School of Design, Providence, R.I., USA.
Solo Exhibitions
- 2014: “Entrecortinas: abre, jala, corre“, Galería OMR, Mexico City, Mexico.
- 2013: “Espectacular Telón“, Sultana Gallery, Paris, France.
- 2013: “Cuadrado Negro, part of the program Mutatis Mutandis in Artium“, Basque museum-center of contemporary art, Vitoria, Spain.
- 2010: “Lost In You (A Performance That Never Happened)”, Open studio performance, Mexico City, Mexico.
- 2009: “El Resplandor”, El 52 Gallery (project space and residence program ran by OMR Gallery), Mexico City, Mexico.
Group Exhibitions
- 2013: “Draft Urbanism”, Biennial of the Americas, Denver, Colorado, USA.
- 2013: “No A Trio A”, La Casa Encendida, Madrid, Spain.
- 2013: “Horizontal”, La Central Gallery, Bogota, Colombia.
- 2012: “Popo de Paris“, Sultana Gallery, Paris, France.
- 2011: “El Grito“, Museo de Arte Contemporáneo de Castilla y León (MUSAC), Leon, Spain.
- 2011: “Mañana”, Proyectos Ultravioleta, Guatemala, Guatemala.
- 2010: “Sin techo está pelón, colección Jumex”, Universidad de Guanajuato, Guanajuato, Mexico.
- 2010: “El Resplandor”, Museo Experimental el Eco, Mexico City, Mexico.
- 2009: “There are false problems…”, Proyectos Monclova, Monterrey, Mexico.
- 2009: “Residencia de El Resplandor “, OMR Projects, Mexico City, Mexico.
- 2009: “[sic]”, OMR Gallery, Mexico city, Mexico.
- 2009: “This is not an invitation, it’s a presentation”, OMR projects, Mexico City, Mexico.
- 2008: “Lanzarote”, Keith Talent Gallery, London, United Kingdom.
- 2008: “Croyances Quotidiennes”, Palais Université Robert Schuman, Strasbourg, France.
- 2007: “Eventos Sociales”, Galería de Arte Mexicano, Mexico City, Mexico.
Collections
- La Colección Jumex, Mexico City, Mexico.
- Patricia Phelps de Cisneros, New York City, USA.
- Kadist Art Foundation, San Francisco, USA.
- Pia Camil, “Espectacular Telón Toluca I-VI”, 2014, Hand dyed and stitched canvas, Variable dimensions. Site-specific project. Location: Galería OMR, Mexico City, Mexico. Photo credit: Courtesy of the artist.
- Pia Camil, “Espectacular Telón Ecatepec II”, 2014, Hand dyed and stitched canvas, Variable dimensions. Site-specific project. Location: Galería OMR, Mexico City, Mexico. Photo credit: Courtesy of the artist.
- Pia Camil, “Espectacular Telón Pachuca I, and Fragmento 8 I”, 2014, Hand dyed and stitched canvas, and low temperature ceramic with enamel, Variable dimensions. Site-specific project. Location: Galería OMR, Mexico City, Mexico. Photo credit: Courtesy of the artist.
- Pia Camil, “Fragmento 8 I”, 2014, Low temperature ceramic with enamel, 82.5 x 42.5 x 16.9 cm. Photo credit: Courtesy of the artist.
- Pia Camil, “Espectacular Telón”, 2013, Hand dyed and stitched canvas, Variable dimensions. Site-specific project. Location: Sultana, Paris, France. Photo credit: Courtesy of the artist.
- Pia Camil, “Espectacular Telón”, 2013, Hand dyed and stitched canvas, Variable dimensions. Site-specific project. Location: Sultana, Paris, France. Photo credit: Courtesy of the artist.
- Pia Camil, “Cuadrado Negro”, 2013, Metal beams and construction mesh, 800 x 800 x 800 cm. Site-specific project. Location: Basque museum-center of contemporary art, Vitoria, Spain. Photo credit: Courtesy of the artist.
- Pia Camil, “Cuadrado Negro”, 2013, Metal beams and construction mesh, 800 x 800 x 800 cm. Site-specific project. Location: Basque museum-center of contemporary art, Vitoria, Spain. Photo credit: Courtesy of the artist.
- Pia Camil, “No A Trio A”, 2013, The installation was made for La Casa Encendida, Madrid, with artist Guillermo Mora and the suit was designed in collaboration with Uriel Urban. , Variable dimensions. Site-specific project. Location: La Casa Encendida, Madrid, Spain. Photo credit: Courtesy of the artist.
- Pia Camil, “Tlatelolco: Shot from a balcony”, 2011, still from Video Floor Projection, (00:06:09), Variable dimensions. Photo credit: Courtesy of the artist.
- Pia Camil, “Maqueta para el monumento”, 2011, Engraved black marble on wooden base, 27 x 75 x 15 cm. Photo credit: Courtesy of the artist.
- Pia Camil, “Highway Follies”, 2011, Resin and mineral powdered pigment, 150 x 200 cm. Photo credit: Courtesy of the artist.
- Pia Camil, “Highway Follies (study I)”, 2011, Inkjet Print, 35 x 45 cm. Photo credit: Courtesy of the artist.
- Pia Camil, “More or less Frank Stella”, 2009, Wooden planks painted and treated, floor mounted, 270 x 310 cm. Photo credit: Courtesy of the artist.
- Pia Camil, “Diagonal Hoarding”, 2008, Painted wooden lengths, Variable dimensions. Photo credit: Courtesy of the artist.
The core of my work lies in the dichotomy between interior and exterior space. I explore the idea of the urban architectural space as a restraint, one that denies both the body and the landscape. Lately I’ve been analyzing how the monumentality and infinity of landscape can relate to our perceptions of the body. My installations are ephemeral; they are intricate and expansive constructions, impossible geometries that are meant to be broken.
La idea que anima mi trabajo se encuentra en la dicotomía entre espacio interior y exterior, así exploro la arquitectura urbana como una limitación que niega tanto el cuerpo como el paisaje. En mis proyectos más recientes he analizado cómo la monumentalidad y lo ilimitado del paisaje natural pueden relacionarse con nuestras percepciones del cuerpo. Mis instalaciones son efímeras; son intrincadas y expansivas construcciones, geometrías imposibles que habrán de romperse.
Selected Biographical Information
Education / Training
- 2009-2011: Master of Fine Arts, San Francisco Art Institute, San Francisco, CA, United States.
- 2002-2007: Bachelor in Fine Arts, Universidad Nacional de Colombia, Bogotá, Colombia.
Prizes / Fellowships
- 2012: Beca para residencia artística, Banff Centre-Ministerio de Cultura, Banff Centre, Ministerio de Cultura, Banff, Bogotá, Canada/Colombia.
- 2010: Phelan, Murphy and Cadogan Fellowship, San Francisco Foundation, San Francisco, CA, United States.
- 2008: Beca Fulbright -Ministerio de Cultura para artistas, Fulbright, Ministerio de Cultura, Bogotá, Colombia.
- 2007: BFA with Honors/ Grado de Honor, Universidad Nacional de Colombia, Bogotá, Colombia.
Solo Exhibitions
- 2015: “The Soft Gesture“, The Wooden Floor – Sayago&Pardon, Santa Ana, United States.
- 2015: “El gesto fuerte, el gesto suave. Estructuras blandas y transformaciones“, Centro Cultural Británico, Lima, Perú.
Group Exhibitions
- 2014: “Después de lo anterior“, Galería Santa Fé, Bogotá, Colombia.
- 2014: “Tránsitos y articulaciones”, Galería Club El Nogal, Bogotá, Colombia.
- 2013: “Nuevos Nombres”, Banco de la República, Bogotá, Colombia.
- 2013: “Periscopio”, Banco de la República, Bogotá, Colombia.
- 2012: “Especies de Espacios”, Galería Club El Nogal, Bogotá, Colombia.
- 2011: “Gridlock“, AC Institute , New York, NY, United States.
- 2011: “Numina Femenina“, Consulate General of Mexico, San Francisco, CA, United States.
- 2011: “Liminal Takes“, Mission Cultural Center, San Francisco, CA, United States.
- 2011: “Artecámara 2011“, ARTBO, Bogotá, Colombia.
- 2010: “Chicas Chicas Chicas”, Art Museum of the Americas, Washington, D.C., United States.
- 2010: “Spoon full of sugar “, Kitsch Gallery, San Francisco, CA, United States.
- 2009: “Chicas, chicas, chicas”, Cámara de Comercio, Sede Kennedy, Bogotá, Colombia.
Collections
- Museo del Banco de la República, Bogotá, Colombia.
- Sayago & Pardon Collection, CA, USA.
- Ana Belén Cantoni, “Caja, dibujo sobre pared”, 2011, Series: Dibujos sobre pared, Yarn, staples and red chalk on wall, 60 x 50 cm.
- Ana Belén Cantoni, “Caja, dibujo sobre pared” (detail), 2011, Series: Dibujos sobre pared, Yarn, staples and red chalk on wall, 60 x 50 cm.
- Ana Belén Cantoni, “Línea horizontal, dibujo sobre pared”, 2011, Series: Dibujos sobre pared, Yarn, staples and red chalk on wall, 22 cm x 8,8m cm. Site-specific project. Location: AC Institute, New York, NY, United States.
- Ana Belén Cantoni, “Mine “, 2011, Red coats frayed, thread and staples, 39 x 167 x 518 cm. Site-specific project. Location: AC Institute, New York, NY, United States.
- Ana Belén Cantoni, “Mine” (detail), 2011, Red coats frayed, thread and staples, 39 x 167 x 518 cm. Site-specific project. Location: AC Institute, New York, NY, United States.
- Ana Belén Cantoni, “EStructura de crecimiento rizomático III”, 2013, Pieces of bed sheets, safety pins, and wooden pegs, Variable dimensions.
- Ana Belén Cantoni, “Estructura de crecimiento rizomático III”, 2011, Pieces of bed sheets, safety pins, and wooden pegs, Variable dimensions.
- Ana Belén Cantoni, “Estructura de crecimiento rizomático II” (detail), 2011, Pieces of bed sheets, safety pins, and wooden pegs, Variable dimensions.
- Ana Belén Cantoni, “El gesto fuerte que todo aquello que es sutil niega”, 2013, Hand-woven copper mesh, black cotton fiber, Variable dimensions. Site-specific project. Location: Banco de la república, Bogotá, Colombia.
- Ana Belén Cantoni, “El gesto fuerte que todo aquello que es sutil niega”, 2013, Hand-woven copper mesh, black cotton fiber, Variable dimensions. Site-specific project. Location: Banco de la República, Bogotá, Colombia.
- Ana Belén Cantoni, “Estructura elástica en rosa y negro”, 2013, Series: De la vida privada de la geometría, Elastic fabric and staples on floor and wall, 170 x 355 x 295 cm. Site-specific project. Location: Banff Centre, Banff, Canadá.
- Ana Belén Cantoni, “Línea “, 2011, All my black clothes, Variable dimensions.
- Ana Belén Cantoni, “Cuerpo Concreto I”, 2013, Series: Cuerpos Concretos, Elastic fabric, staples on floor and wall, and stone, Variable dimensions.
- Ana Belén Cantoni, “Cuerpo Concreto I (Vista de la Instalación)”, 2013, Series: Cuerpos Concretos, Elastic fabric, staples on floor and wall, and stone, Variable dimensions.
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
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.
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 divide my artistic production in three simultaneous directions. The phenomenological; the epistemological; and the topological. Perception, culture and place. Every direction converges in the human condition. Each one of these directions has its own visual language. The works focused on perception are full of color, of light. They oscillate between geometry and minimalism. Those centered in culture are textual and monochromatic. They oscillate between the joke, the absurd, the messianic and the politically incorrect. The ones focused on place are the backbone of my work. Through trips and moves I determine and subjectively give signs and values to cities and places. An un-scientific anthropology. A unique language in each place, which goes from the figurative to land art. There is a back and forth between directions and visual languages. I find, through constant exploration, my work’s reason to be.
Divido mi producción artística en tres direcciones simultáneas. Lo fenoménico, lo epistemológico y lo topológico. La percepción, la cultura y el sitio. Todas las direcciones convergen en la condición humana. Cada una de estas direcciones tiene su lenguaje plástico particular. Las piezas enfocadas a la percepción están llenas de color, de luz. Oscilan entre la geometría y el minimalismo. Aquellas enfocadas a la cultura son textuales y monocromáticas. Oscilan entre la broma, el absurdo, lo mesiánico y lo políticamente incorrecto. Las piezas enfocadas al sitio son la columna vertebral de mi trabajo. A través de viajes y cambios de residencia determino y subjetivamente le doy signos y valores a ciudades y lugares. Una antropología acientífica. Un lenguaje único en cada sitio, que va desde lo figurativo al land art. Existe un ir y venir entre direcciones y entre lenguajes plásticos. Encuentro en una constante exploración la razón de ser de mi trabajo.
Selected Biographical Information
Education / Training
- 2002-2005: Tecnológico de Monterrey, Campus Guadalajara. Arquitecto.
Solo Exhibitions
- 2011: “En el borde de la razón, somos”, November 3- January 3, Curro y Poncho, Guadalajara, Mexico.
- 2010: “Fallas de origen”, August 5-November 1, Curro y Poncho, Guadalajara, Mexico.
- 2005: “No es una moda, es un estilo de vida…”, September 8- October 9, Museo de las Artes, Guadalajara, Mexico.
Group Exhibitions
- 2011: “Todo en mi cabeza esta padrísimo (espectros de gocé. Una curaduría situacional)”, October 5-Ongoing, PISO 51, D. F., Mexico.
- 2011: “La muerte del autor ….(local)”, July 14-September 30, Curro y Poncho, Guadalajara, Mexico.
- 2011: “Grange Gardens Sculpture Project”, March 11-27, Grange Gardens, Grange Walk, Galerie8, London, England.
- 2010: “Chewbacca to Zapata: Revisiting the myth of the Mexican Revolution”, September 25-November 20, Morono Kiang Gallery, Los Angeles, USA.
- 2010: “Totem. Tree Amigos”, January 23-March 2, Abarrotera Mexicana, Guadalajara, Mexico.
- Octavio Abúndez, “No.4”, 2007, Series: Forgetting Architecture, Digital print, Variable dimensions. Image courtesy of the artist.
- Octavio Abúndez, “No.4 (3)”, 2011, Series: All the things in between, Digital print, 59 1/16 in. (150 x 150 cm., Site specific project, Collection Diego Valenzuela. Image courtesy of the artist.
- Octavio Abúndez, “Punta Mita”, 2011, Series: Untitled, Digital print, 157 1/2 x 50 3/8 in. (400 x 128 cm). Site specific project, Collection Diego Valenzuela. Image courtesy of the artist.
- Octavio Abúndez, “Lascaux, 2012”, Acrylic on wood, 114 3/16 x 80 11/16 x 2 in. (290 x 205 x 5 cm). Image courtesy of the artist.
- Octavio Abúndez, “Continuidad de los parques II”, 2008, Collage, 33 1/16 x 26 in. (84 x 66 cm). Image courtesy of the artist.
- Octavio Abúndez, “Tunnel vision”, 2010, Series: Something Nothing, Stainless steel, 98 7/16 x 74 13/16 x 5 15/16 in. (250 x 190 x 15 cm). Collection: Nate Berkus, New York. Image courtesy of the artist.
- Octavio Abúndez, “Babel Horizontal II”, 2012, Series: Babel, wood with automotive paint, 90 9/16 x 55 1/8 x 2 in. (230 x 140 x 5 cm). Collection: Jose Adrían Moreno, Alejandra Gonzalez, Mexico City. Image courtesy of the artist.
- Octavio Abúndez, “Estas ruinas que ves”, 2010, Alabaster, 13 3/8 x 5 1/8 x 4 5/16 in. (34 x 13 x 11 cm). Collection: Abúndez Alatorre, Guadalajara. Image courtesy of the artist.
- Octavio Abúndez, “New York”, 2009, Series: Untitled, Digital print, 118 1/8 x 86 5/8 in. (300 x 220 cm). Site specific project. Collection: Abúndez Alatorre, Guadalajara. Image courtesy of the artist.
- Octavio Abúndez, “Space is only density”, 2011, Digital print, Variable dimensions. Image courtesy of the artist.
- Octavio Abúndez, “Fin de caminos”, 2011, Digital print, Variable dimensions. Image courtesy of the artist.
- Octavio Abúndez, “Babel Horizontal III”, 2012, Series: Babel, Wood with automotive paint, 149 5/8 x 66 15/16 x 2 in. (380 x 170 x 5 cm). Collection: Jose Luis Carrillo, Mariana Aldaco, Guadalajara. Image courtesy of the artist.
- Octavio Abúndez, “Monumento”, 2012, Wood, 23 5/8 x 10 5/8 x 7 7/8 in. (60 x 27 x 20 cm). Site specific project, Location in Guadalajara. Image courtesy of the artist.
- Octavio Abúndez, “Zero Energy”, 2012, Series: Something Nothing, Stainless steel, 63 x 51 1/8 x 5 7/8 in. (160 x 130 x 15 cm). Collection: Agapi Burkard, San Francisco. Image courtesy of the artist.
- Octavio Abúndez, “San Diego-Tijuana”, 2012, Series: Untitled, Digital print, 78 3/4 x 78 3/4 in. (200 x 200 cm). Site specific project. Image courtesy of the artist.
Translated from Spanish
My artistic research is based on the need to transmit and reveal what I live; it is a continuous self-observation. The initial impulse of creation comes from there, always under the construction of a very personal space that I combine with geometric and constructive traditions, more as a language related to my expressive necessities than as a conceptual avenue. My work is formally and conceptually mechanical, repetitive and obsessive. To constantly repeat a form or a phrase allows an elevated state, and I want to transmit through my work that energy, outwards. The letters, the dots, or bottle caps end up creating, in absolute coherence with my way of creating, a personal and sensorial language; a writing that travels parallel with my visual and spiritual history. I make the series of mandalas with bottle caps by cutting eight spikes to each cap. They turn into a weapon to harm but also to protect, in the form of chakras. The more oxidized and worn out is the cap, the more beautiful it is. I am also interested in their colors, and that the brand is also present. When I mix all the caps there is a light that sends me to the place where they were picked up. Though everything is made by chance, each mandala has its own energy and its particular form—when I arrange them, albeit their minor differences, no cap is the same as the other. Little by little I construct my maps from this unique element that is commonly found in every place of the world and that keeps an identity from each place. The caps have and will have many histories. My dedication to the work is total. There is a symbiosis with what I make, which is something very peculiar. It is not a masterpiece, but a footprint, something from within that is immensely vital and unique. The growth in my life is the growth of my work and vice versa.
Mi investigación artística se fundamenta en la necesidad de transmitir y revelar lo que vivo, es una auto observación continua. De ahí parte el impulso inicial de creación, siempre bajo la construcción de un espacio muy personal que conjugo con la tradición geométrica y constructiva, más como un lenguaje afín a mis necesidades expresivas que como una dirección conceptual en sí. Mi trabajo es mecánico, repetitivo y obsesivo tanto formal como conceptualmente. Repetir constantemente una forma o una frase crea un estado elevado, y en mis obras lo que quiero es transmitir esa energía hacia fuera. Las letras, los puntos, o chapas, terminan creando, en coherencia absoluta con mi manera de producir, un lenguaje personal y sensorial, una escritura que viaja en paralelo con mi historia visual y espiritual. La serie de mandalas de chapas las trabajo cortándole ocho picos a cada una de ellas. Se vuelven un arma cortante y también un arma protectora con forma de chacra. Mientras más oxidada y rota la chapa, más bella. Pero también me interesan sus colores, así como que esté presente la marca que se consume. Cuando mezclo todas las chapas se crea una luz que me remite al lugar donde fueron recogidas. Y aunque todo es al azar, cada mandala tiene su energía y su forma particular, porque al colocarlas, marcando pequeñas diferencias, ninguna resulta igual a la otra. Y así, poco a poco, voy construyendo mis mapas a partir de este único elemento que se encuentra comúnmente en todos los lugares del mundo y que guarda una identidad propia del mismo. Las chapas tienen y tendrán muchas historias. Mi entrega con mi trabajo es total, hay una simbiosis con lo que hago, que es como algo singular. No se trata de una obra maestra, sino de una huella, de algo ti que es inmensamente vital y único. El crecimiento en mi vida es el crecimiento en mi obra y viceversa.
Selected Biographical Information
Education / Training
- 1982-86: Central Saint Martins College of Art & Design, London, UK.
Prizes / Fellowships
- 2006: Programa de Subvenciones de CIFO, Cisneros Fontanals Art Foundation, Miami, USA.
- 2001: Programa de Artistas en Residencia, Fundación La Llama, Caracas y Caribbean Contemporary Arts (CCA7), Puerto España, Trinidad, Spain.
- 2000: Taller Internacional de Artistas La Llama, Tácata, Venezuela.
- 2000: Mención Honorífica, I Premio ABC de Pintura, ARCO´00, Madrid, Spain.
- 1999: Primer Premio, 57 Salón de Artes Visuales Arturo Michelena, Ateneo de Valencia, Venezuela.
- 1997: Taller de Artistas por el Lago, Museo de Arte Contemporáneo del Zulia,Venezuela.
- 1997: Mención Honorífica, V Bienal de Guayana, Museo de Arte Moderno Jesús Soto, Ciudad Bolívar, Venezuela.
- 1996: Mención Honorífica, V Bienal de Artes Visuales Christian Dior, Centro Cultural Consolidado, Caracas, Venezuela.
- 1992: Tercer Premio, I Bienal Nacional del Paisaje, Fundación Museo de Arte Contemporáneo de Maracay Mario Abreu, Maracay, Venezuela.
- 1990: Mención Honorífica, VI Premio Eugenio Mendoza, Sala Mendoza, Caracas, Venezuela.
- 1988: Residencia de Artista, Institución Libre de Enseñanza, Madrid, Spain.
Solo Exhibitions
- 2011: Galeria Distrito 4, Madrid, Spain.
- 2010: “Sudoku”, Galería Faría + Fábregas, Caracas, Venezuela.
- 2008: “Periférico Caracas”, Centro de Arte Los Galpones, Caracas, Venezuela.
- 2004: Casa de América, Madrid, Spain.
- 2001: “Cerca de mí, Caribbean Contemporary Arts (CCA7)”, Puerto España, Trinidad, Spain.
- 2000: Museo Alejandro Otero, Caracas. Travel exhibition to Ateneo de Valencia, Venezuela y al Centro Cultural de España, Santo Domingo, Dominican Republic.
- 1999: Galería Luis Adelantado, Valencia, Spain.
- 1998: Sala Mendoza, Caracas, Venezuela.
- 1997: “Senderos perforados”, Galería Ars Forum, Caracas, Venezuela.
- 1991: “Obra reciente”, Sala Mendoza, Caracas, Venezuela.
- 1990: “Óleos”, Institución Libre de Enseñanza, Fundación Francisco Giner de Los Ríos, Corporación de Antiguos Alumnos, Madrid, Spain.
- 1988: “Pinturas”, Galería Clave, Caracas, Venezuela.
Group Exhibitions
- 2011: “Geometrías alteradas”, Galería Faría+Fábregas, Caracas, Venezuela.
- 2009: “Regreso”, Casa de América, Madrid, Spain.
- 2008: “Notas sobre la abstracción”, Colección Berezdivin, San Juan, Puerto Rico.
- 2008: “Objetos Afortunados, Selección de la Colección Ella Fontanals-Cisneros“, Cisneros Fontanals Art Foundation (cifo), Miami, USA.
- 2007: “Jump Cuts, Arte Contemporáneo Venezolano, Colección Mercantil”, Cisneros Fontanals Art Foundation (cifo), Miami, USA.
- 2006: “10 Defining Experiments“, Programa de Becas Cifo, Cisneros Fontanals Art Foundation (CIFO), Miami, USA.
- 2006: “Uno a la vez, Dibujos en la Colección Mercantil”, Museo de Arte Contemporáneo del Zulia, Maracaibo, Venezuela.
- 2005: “Jump Cuts, Arte Contemporáneo Venezolano“, Colección Mercantil, Americas Society, Nueva York, USA.
- 2005: “La Costilla Maldita”, Centro Atlántico de Arte Moderno (CAAM), Las Palmas de Gran Canaria, Spain.
- 2004: ARCO´04, Casa de América (Stand), Madrid, Spain.
- 2003: Bienal de Praga I, Galería Nacional, Veletrzní Palác, Praga, Czech Republic.
- 2002: XXV Bienal de São Paulo, Ciudades, Iconografías Metropolitanas, São Paulo, Brazil.
- 2001: Galería Marlborough, Madrid, Spain.
Publications
- MARTIN LLOPIS, Paloma, Regreso: arte latinoamericano y memoria, Casa de América, Madrid.
- FAJARDO-HILL, Cecilia, Objetos Afortunados, selección de la Colección Ella Fontanals-Cisneros, Cisneros Fontanals Art Foundation (cifo), Miami; Milán: Edizioni Charta.
- GONZÁLEZ, Julieta, Rafael Castillo Zapata y Juan Carlos Ledezma, Arte Contemporáneo de Venezuela, Caracas: Francisco Villanueva Editores.
- RIVERO, Tahía, Jesús Fuenmayor, Gabriela Rangel y otros Jump Cuts, Arte Contemporáneo Venezolano, Colección Mercantil, Americas Society, Nueva York.
- AIZPURU, Margarita, La Costilla Maldita, Centro Atlántico de Arte Moderno (CAAM), Las Palmas de Gran Canaria, España.
Collections
- Colección Ella Fontanals Cisneros, Cisneros Fontanals Art Foundation (CIFO), Miami, USA.
- Colección Mercantil, Fundación Banco Mercantil, Caracas, Venezuela.
- Colección Banesco, Fundación Banco Banesco, Caracas, Venezuela.
- Museo Alejandro Otero, Caracas, Venezuela.
- Museo de Arte Contemporáneo de Caracas, Venezuela.
- Fundación Coca-Cola, Spain.
- Colección Berezdivin, San Juan, Puerto Rico.
- Colección Patricia Phelps de Cisneros, Fundación Cisneros, Caracas, Venezuela.
- Museo de Arte Contemporáneo de Maracay Mario Abreu, Maracay, Venezuela.
- Emilia Azcárate, “Sudoku”, 2009-2010, Acrylic on canvas, 180 x 180 cm / 63 x 63 cm. Image of the artist and Henrique Faria Fine Art, New York
- Emilia Azcárate, “La Mar de Letras”, 2013, Green typewriter ink on paper, 26 postcards 10.5cm. X 15.5cm each. Image courtesy of the artist and Henrique Faria Fine Art, New York
- Emilia Azcárate, “Sin Titulo (México, D.F.)”, 2012, Bottle Caps, 200cm. Image courtesy of the artist and Henrique Faria Fine Art, New York
- Emilia Azcárate, “S/T (azul)”, 2006, Watercolor and acrylic on canvas, 75 x 92 cm. Image courtesy of the artist and Henrique Faria Fine Art, New York
- Emilia Azcárate, “Sin título”, 2004, Watercolor on canvas, 27 x 22 cm. Image courtesy of the artist and Henrique Faria Fine Art, New York
- Emilia Azcárate, “Sin título (trini-steel pan)”, 2002, Watercolor on paper, 29,5 x 25cm. Image courtesy of the artist and Henrique Faria Fine Art, New York
- Emilia Azcárate, “Sin título”, 2000, Acrylic on canvas, 1.90 x 1.90 cm. Image courtesy of the artist and Henrique Faria Fine Art, New York
- Emilia Azcárate, “Sin título”, 1999, Acrylic on canvas, 1.80 x 1.80 cm. Image courtesy of the artist and Henrique Faria Fine Art, New York
- Emilia Azcárate, “Trini to the bone I”, Series: Carnival 2002, 180 x 160 x 30 cm. Image courtesy of the artist and Henrique Faria Fine Art, New York
- Emilia Azcárate, “Trini to the bone II”, Series: Carnival 2003, 200 x 210 x 30 cm. Image courtesy of the artist and Henrique Faria Fine Art, New York
My focus has always been on questioning the accuracy of our perception, our interpretation of reality. I have tried to capture the state of flux of everything. Participation of the viewer is important because it brings the person into the sculpture; the public is the performer and the viewer, and that dual involvement is an important element of my work. I explore the ideas of sequencing, beginning and end, making objects that are simple networks with no definite shape and that exist between the second and third dimension with infinite possible configurations.
Traducido del inglés
Mi enfoque siempre ha sido el cuestionar la precisión de nuestra percepción, de nuestra interpretación de la realidad. He intentado capturar el estado de flujo de todas las cosas. La participación del espectador es importante porque trae a la persona dentro de la escultura; el público es el que realiza el performance y el espectador, y esa participación binaria es un elemento importante de mi obra. Exploro ideas de secuencia, principio y fin, realizando objetos que son redes simples sin forma definida y que existen entre la segunda y tercera dimensión, con configuraciones posibles infinitas.
Selected Biographical Information
Education / Training
- 1980: BFA, State University of New York at Old Westbury.
- 1977-8: Summer Internship, Camnitzer-Porter Studio.
Prizes / Fellowships
- 2013: Pollck-Krasner Foundation Grant, New York, USA.
- 2003: Civitella Ranieri Artist Residency, Umbria, Italy.
- 2001: Anonymous Was A Woman Award, New York, USA.
- 2000: Joan Mitchell Foundation Inc, Award, New York, USA.
- 1986: Pollock-Krasner Foundation Grant, New York, USA.
- 1983-5: PS-1 National Studio Program Artist Residency, New York, USA.
Solo Exhibitions
- 2013: “Integral Geometries”, Special Project Room, MoLAA, Long Beach, CA, USA.
- 2011: “Constructions”, Cecilia de Torres Ltd. New York City, USA.
- 2010: “New Paradigms”, Alejandra von Hartz, Miami, USA.
- 2008: “Marta Chilindron”, Galeria Laura Marsiaj, Rio de Janeiro, Brazil.
- 2006: “Sculpture in Four Dimensions”, Amelie Wallace, SUNY, New York City, USA.
- 2006: “Marta Chilindron”, VCUQ Gallery, Doha, Qatar.
- 2004: “New Work”, Cecilia de Torres, Ltd, New York City, USA.
- 2001: “Sculptures”, Dot Galerie, Geneva, Swizterland.
- 1999: “Cinema Kinesis, Contemporanea”, El Museo del Barrio, New York City, USA.
- 1997: “Dimensions”, Cecila de Torres, Ltd, New York City, USA.
- 1994: “Talking Paintings & Dreams”, IBEU, Rio de Janeiro, Brazil.
Group Exhibitions
- 2014: “New Territories: Design and Art from Latin America”, Museum of Art and Design, New York City, USA.
- 2013: “Group Show”, Cecilia de Torres Ltd. New York City, USA.
- 2012: “LA to LA, Selections from Sayago & Pardon Collection”, LA Art Core, Los Angeles, USA.
- 2012: “Group Exhibition”, Sicardi Gallery, Houston, Texas, USA.
- 2011: “Tridimensional”, Alejandra von Hartz Gallery, Miami, USA.
- 2010: “Fokus Lodz Biennale 2010”, Lodz, Poland.
- 2010: “The Constructive Elan”, Alejandra von Hartz Gallery, Miami, USA.
- 2006: “Sites of Latin American Abstraction”, CIFO (Cisneros Fontanal Foundation), Miami, Florida, USA.
- 2005: “The Art of Point of Contact”, Everson Museum of Art, Syracuse, New York, USA.
- 2004: “Up & Coming, Invited artist”, ARCO 04, Madrid, Spain.
- 2001: “Five Easy Pieces”, Dot Galerie, Basel, Swizterland.
- 2000: “Square Root”, Cecilia de Torres, Ltd., New York City, USA.
- 1997: “Studio Camnitzer”, Museo Nacional del Grabado, Buenos Aires, Argentina.
- 1992: “The Art Mall”, The New Museum, New York City, USA.
- 1992: “500 Años”, Centro Recoleta, Buenos Aires, Argentina.
- 1985: “PS-1 Artists”, The Clocktower Gallery, New York City, USA.
Publications
- 2012: Beta Sichel, “Constructions,” Arte al Dia International, #139.
- 2012: Tatiana Flores, “Marta Chilindron at Cecilia de Torres,” ArtNexus, Vol. 11 #84.
- 2012: Robert C. Morgan, “Sculpture in New York,” World Sculpture News, Vol. 18 #1
- 2011: Constructions exhibition catalogue, essays by Eleanor Heartney and Richard Vine.
- 2010: Goschka Gawlik, “Kunst News, Focus Lodz Biennale 2010”, 2-10-10, art magazine, Vienna, Austria.
- 2001: Richard Vine, “Report from Rio de la Plata,” Art in America, Oct.
- 1997: Jonathan Goodman, “Marta Chilindron at Cecilia de Torres,” Art in America, Sept.
- 1996: Ana Tiscornia, “Perverting the Specific Object,” Atlantica Int. Revista de las Artes, #15.
- 1993: Monica Amor, “Contemporary Art of Argentina, Brazil & Colombia,” Art Nexus, 6-8/93.
- 1992: Berta Sichel, “Touched by Light,” Art Nexus.
Collections
- Jack S. Blanton Museum, Austin, Texas, USA.
- Cisneros Fontanal Art Foundation, Miami, Florida, USA.
- Sayago & Pardon Collection, Los Angeles, California, USA.
- El Museo del Barrio, New York, New York, USA.
- Fonds d’art contemporain de la ville de Genève, Switzerland.
- Banco do Spiritu Santo, Portugal.
Additional Links
- Marta Chilindron – 9 Triangles (blue, pink, yellow)
- Marta Chilindron: Integral Geometries Exhibition at MOLAA 2013
- Marta Chilindrón, “Cube 48”, 2006, Blue twin-wall polycarbonate, plastic hinges and screws, 48 x 48 x 48 in. when closed. Photo credit: Arturo Sanchez.
- Marta Chilindrón, “Cube 48”(alternate view), 2006, Blue twin-wall polycarbonate, plastic hinges and screws, 48 x 48 x 48 in. when closed. Photo credit: Arturo Sanchez.
- Marta Chilindrón, “Pyramid 48”, 2006, Green twin-wall polycarbonate, plastic hinges and screws, 48 x 48 x 48 in. when closed. Photo credit: Arturo Sanchez.
- Marta Chilindrón, “Pyramid 48”(alternate view), 2006, Green twin-wall polycarbonate, plastic hinges and screws, 48 x 48 x 48 in. when closed. Photo credit: Arturo Sanchez.
- Marta Chilindrón, “Hexagon 3030”, 2007, 3/8 clear 3030 plexi, plastic hinges and screws, 3/8 x 44 x 44 in. when completely open. Photo credit: Arturo Sanchez.
- Marta Chilindrón, “Hexagon 3030” (alternate view), 2007, 3/8 clear 3030 plexi, plastic hinges and screws, 3/8 x 44 x 44 in. when completely open. Photo credit: Arturo Sanchez.
- Marta Chilindrón, “Sphere 12”, 2009, Fluorescent blue plexi, plastic hinges, 12 x 12 x 12 in. when closed. Photo credit: Arturo Sanchez.
- Marta Chilindrón, “Sphere 12” (being shaped by artist), 2009, Fluorescent blue plexi, plastic hinges, 12 x 12 x 12 in. when closed. Photo credit: Arturo Sanchez.
- Marta Chilindrón, “Spiral”, 2010, Fluorescent blue plexi, plastic hinges and screws, 83 in. diameter when completely flat. Photo credit: Alejandra von Hartz Gallery.
- Marta Chilindrón, “Orange Pyramid”, 2010, Fluorescent orange plexi, plastic hinges and screws, 18 x 18 x 18 in. when closed. Photo credit: Arturo Sanchez.
- Marta Chilindrón, “Twenty-Seven Triangles”, 2010, Clear 3030 and DP9 frosted plexi, plastic hinges and screws, 16 x 18 x 12 in. when completely closed. Photo credit: Alejandra von Hartz Gallery.
- Marta Chilindrón, “Ring”, 2013, Radiant plexi, plastic hinges and screws, 30 in. diameter when flat. Photo credit: Arturo Sanchez.
- Marta Chilindrón, “Mobius”, 2013, Fluorescent pink, fluorescent green and blue plexi, plastic hinges and screws, 36 x 80 x 80 in. Photo credit: Arturo Sanchez.
- Marta Chilindrón, “Hex Spiral”, 2013, Fluorescent yellow plexi, plastic hinges and screws, 48 x 110 x 90 in. Photo credit: Arturo Sanchez.
- Marta Chilindrón, “Hex Spiral” (alternate view with artist), 2013, Fluorescent yellow plexi, plastic hinges and screws, 48 x 110 x 90 in. Photo credit: Arturo Sanchez.
Selected Biographical Information
Education / Training
- Diploma de Arquitectura, Universidad Nacional de Rosario, Argentina.
Prizes / Fellowships
- United States Artists Fellowship (USA Fellowship) (2012 Nominees).
- South Florida Cultural Consortium Fellowship for Visual & Media Artist.
- Visiting Artist Fellowship -American Academy in Rome -New York City & Rome Italy.
- Visiting Artist – The Getty Center for the History of Art & the Humanities, Santa Monica, California.
Solo Exhibitions
- 2008: “The Absent City“, Museum of Contemporary Art, Madison, WI, USA.
- 2007: “The Peace Project”, Museum of Contemporary Art Denver, Colorado, USA.
- 2003: Miami Art Museum, Miami, USA.
- 2002: The University of Miami, USA.
Group Exhibitions
- 2012: “Temporary Structures“, San Francisco Art Institute, San Francisco, USA.
- 2011: “Time of Friendship”, Museum of Art of Fort Lauderdale, Fort Lauderdale, USA.
- 2006: “Brasil Ainda Moderno”, Palais de la Porte Doree, Paris, France.
- 2004: Palm Beach Institute of Contemporary Art, Palm Beach, USA.
- 2004: Ogden Museum of Art, New Orleans, USA.
- 2003: Neuberger Museum of Art, Purchase, New York, USA.
- 2003: Centre International pour la Ville, l’Architecture et le Paysage, Brussels, Belgium.
- 2001: Bass Museum of Art, Miami Beach, USA.
- 2000: Foundation Pour l’Architecture, Brussels, Belgium.
- 2000: Institut Claude-Nicolas Ledoux, Arc et Senans, France.
- 1999: Museum of Contemporary Art, MOCA, North Miami, USA.
Publications
- 2013: Marie Claire, Criara, Silvia ‘Miami or not Miami’’, March, Milano, Italy.
- 2011: Summa + # 115, Behar, Roberto, “Miami: Ciudad del Mañana”, Junio 2011. Edición en Español, Buenos Aires, Argentina.
- 2011: Wallpaper. McKenzie, Dominic, Miami Urban Renaissance, Design Fashion Art Life Style Digital Edition. London, United Kingdom.
- 2010: Barzon. Alfonso Corona Martinez, “Miami Stars, Una Conversacion Con Rosario Marquardt Y Roberto Behar.” Buenos Aires, Argentina.
- 2010: The Austin Chronicle, Best of Austin 2010. Austin, USA.
- 2010: Architonic. Sokol, David. “Form Follows Fear: in conversation with R. Behar & R. Marquardt”, Zurich, Switzerland.
- 2008: Le Monde 3-29-08 Champenois, MIchele. “Flanerie a Miami”, Paris, France.
- 2007: Art Nexus, Agosto 2007, Julieta Gonzalez, “Roberto Behar & Rosario Marquardt’s Journey into the City”, Miami, USA.
- 2007: Wallpaper Miami Guide. London, United Kindom.
- 2007: La Voz Nueva 5-03-07 Bain, Don. “A Peaceful Place for Denver”, Denver, USA.
- 2007: The Denver Post, 4-18-07, MacMillan, Kyle. “Art and Optimism in The Peace Project”, Denver, USA.
- Roberto Behar & Rosario Marquardt, “Enchanted Forest”, 2004, Series: I Feel Mysterious Today Show, Vinyl ribbons, wood, metal cable, 14 x 8 x 8 feet. Collection of the artists. Photo credit: Palm Beach Institute of Contemporary Art
- Roberto Behar & Rosario Marquardt, “Enchanted Forest”, 2004, Series: I Feel Mysterious Today Show, Vinyl ribbons, wood, metal cable, 14 x 8 x 8 feet. Collection of the artists. Photo credit: Palm Beach Institute of Contemporary Art
- Roberto Behar & Rosario Marquardt, “The World Beyond”, 2008, Vinyl ribbons, metal cable, 10 x 16 x 1 feet. Site specific project. Private Collection
- Roberto Behar & Rosario Marquardt, “The Mask”, 2008, Vinyl ribbons, metal cable, 60 x 50 feet. Site specific project. Location: Madison Museum of Contemporary Art. Photo credit: Madison Museum of Contemporary Art
- Roberto Behar & Rosario Marquardt, “Watching the Wheel Go Round”, 2011, Wall painting, 10 x 20 feet. Site specific project. Location: Museum of Art Fort Lauderdale. Photo credit: Museum of Art Fort Lauderdale
- Roberto Behar & Rosario Marquardt, “The Mask”, 2003, Vinyl ribbons, metal structure, 42 x 42 feet. Site Specific project. Location: Centre International Pour La Ville, L’Architecture et le Paysage, Brussels, Belgium. Photo Credit: Centre International Pour La Ville, L’Architecture et le Paysage, Brussels, Belgium.
- Roberto Behar & Rosario Marquardt, “Plaza Esperanza”, 2003, Vinyl ribbons, metal structure, 20 x 40 x 60 feet. Site Specific project. Location: Centre International Pour La Ville, L’Architecture et le Paysage, Brussels, Belgium. Photo Credit: Centre International Pour La Ville, L’Architecture et le Paysage, Brussels, Belgium.
- Roberto Behar & Rosario Marquardt, “The Absent City 1”, 2008, Vinyl ribbons, metal structure, Variable dimensions. Site Specific project. Location: Madison Museum of Contemporary Art, Madison, WI. Photo credit: Madison Museum of Contemporary Art, Madison, WI
- Roberto Behar & Rosario Marquardt, “The Absent City 2”, 2008, Vinyl ribbons, metal structure, Variable dimensions. Site Specific project. Location: Madison Museum of Contemporary Art, Madison, WI. Photo credit: Madison Museum of Contemporary Art, Madison, WI
- Roberto Behar & Rosario Marquardt, “The Absent City 3”, 2008, Vinyl ribbons, metal structure, Variable dimensions. Site Specific project. Location: Madison Museum of Contemporary Art, Madison, WI. Photo credit: Madison Museum of Contemporary Art, Madison, WI
- Roberto Behar & Rosario Marquardt, “The Absent City 4”, 2008, Vinyl ribbons, metal structure, Variable dimensions. Site Specific project. Location: Madison Museum of Contemporary Art, Madison, WI. Photo credit: Madison Museum of Contemporary Art, Madison, WI
- Roberto Behar & Rosario Marquardt, “The Absent City 5”, 2008, Vinyl ribbons, metal structure, Variable dimensions. Site Specific project. Location: Madison Museum of Contemporary Art, Madison, WI. Photo credit: Madison Museum of Contemporary Art, Madison, WI
- Roberto Behar & Rosario Marquardt, “Here Comes the Sun I”, 2004, Vinyl ribbons, 11 X 6 X 4 feet. Location: Placemaker Gallery, Miami. Photo credit: Placemaker Gallery, Miami
- Roberto Behar & Rosario Marquardt, “Here Comes the Sun IV”, 2004, Vinyl ribbons, 11 X 6 X 4 feet. Location: Placemaker Gallery, Miami. Photo credit: Placemaker Gallery, Miami
- Roberto Behar & Rosario Marquardt, “The Mask”, 2003, Vinyl ribbons, metal structure, 42 x 42 feet. Site Specific project. Location: Centre International Pour La Ville, L’Architecture et le Paysage, Brussels, Belgium. Photo Credit: Centre International Pour La Ville, L’Architecture et le Paysage, Brussels, Belgium.
October 4, 2013 Alejandra Barreda https://abstractioninaction.com/artists/alejandra-barreda/
Translated from Spanish
I work within the framework of geometric abstraction traditions, in correlation with the contemporary world. I research the net of relationships established between painting and spatial context, so that the installation becomes part of the work and each project becomes inseparable from the specific space in which is inserted. On one hand, I resort to working in series, which prevents that the gaze converges to a fixed point in front of the multiplicity of canvases. On the other hand, I work systematically with lines, which produce a continuity effect and expand the pictorial surface.
Trabajo en el marco de la tradición de la abstracción geométrica, en resonancia con el mundo contemporáneo. Investigo la red de relaciones que se establece entre la pintura y el contexto espacial, de modo que el montaje se vuelve una parte de la obra y cada proyecto se vuelve inseparable del espacio específico en que se inserta. Por un lado, recurro a las series, que impiden que la mirada converja hacia un punto fijo frente a la multiplicidad de bastidores. Por otra parte, trabajo sistemáticamente con líneas, que producen ante la mirada un efecto de continuidad y una expansión de la superficie pictórica.
Selected Biographical Information
Education / Training
- 2006-2007: Instituto Universitario Nacional de Arte, Licenciada en Artes Visuales, Buenos Aires, Argentina.
- 1977-1981: Escuela Nacional de Bellas Artes “Prilidiano Pueyrredón”, Profesora Nacional de Pintura, Buenos Aires, Argentina.
Prizes / Fellowships
- 2014: 2° Premio en 9° Concurso Nacional UADE de Pintura, UADE, Buenos Aires, Argentina.
- 2014: 2° Premio en 3°Bienal de Artes visuales Areatec, Areatec, Buenos Aires, Argentina.
- 2009: 4º Premio Estímulo “Asociación amigos del museo”, 3ª Bienal Nacional de Pintura de Rafaela, Provincia de Santa Fe, Argentina.
- 2007: Residencia de artista, Château Blacons, Mirabel et Blacons, France.
- 2007: Mención especial, 2ª Bienal de Pintura de Rafaela, Provincia de Santa Fe, Argentina.
- 2005: Residencia de artista, Sitio Gingko, Troyes, France.
Solo Exhibitions
- 2014: “Geometría extendida“, RO Galería de Arte, Buenos Aires, Argentina.
- 2013: “Quieto vaivén”, Alianza Francesa de Buenos Aires, Buenos Aires, Argentina.
- 2008: “Geometría orgánica”, Galería 1/1 caja de arte, with Daniel van de Velde (1964, France), Buenos Aires, Argentina.
- 2007: Exposición en colaboración con Daniel van de Velde como culminación de residencia de artista, Galería L’arbre de vie, Mirabel et Blacons, France.
- 2006: “Visiblement”, exposición en colaboración barreda/devande, Galería Le Garage, Lorgues, France.
- 2005: Exposición como culminación de residencia de artista, Galería Eric Dumont, Troyes, France.
Group Exhibitions
- 2014: “LIX Salón de Artes Plásticas Manuel Belgrano”, Museo de Artes Plásticas Eduardo Sívori, Buenos Aires, Argentina.
- 2014: “103° Salón Nacional de Artes visuales, Pintura”, Palacio Nacional de las Artes, Buenos Aires, Argentina.
- 2013: “XVII Premio Federico Jorge Klemm a las Artes Visuales”, Fundación Federico Jorge Klemm, Buenos Aires, Argentina.
- 2013: “LVIII Salón de Artes Plásticas Manuel Belgrano”, Museo de Artes Plásticas Eduardo Sívori, Buenos Aires, Argentina.
- 2013: “Geometría al límite“, Museo de Arte Contemporáneo de Buenos Aires, Buenos Aires, Argentina.
- 2013: “Geometría: desvíos y desmesuras”, Fundación Osde, Buenos Aires, Argentina.
- 2013: “8° Concurso Nacional UADE de Pintura”, Buenos Aires, Argentina.
- 2013: Feria de arte Eggo, stand Galería RO, Centro Cultural Recoleta, Buenos Aires, Argentina.
- 2012: “LVII Salón de Artes Plásticas Manuel Belgrano”, Buenos Aires, Argentina.
- 2012: “Bienal de Artes Visuales Areatec”, Buenos Aires, Argentina.
Collections
- Museo de Arte Contemporáneo de Buenos Aires, Buenos Aires, Argentina.
- Sayago & Pardon, CA, USA.
- Areatec, Buenos Aires, Argentina.
- Private collections in France and Argentina.
Links
- Alejandra Barreda, “Doble versión n° 1”, 2014, Series: Doble versión, díptico; Acrylic, oil, and graphite on canvas, 140 x 140 cm. Photo credit: Daniel Kiblisky.
- Alejandra Barreda, “Doble versión n°2”, 2014, Series: Doble versión, díptico; Acrylic, oil, and graphite on canvas, 170 x 150 cm. Photo credit: Daniel Kiblisky.
- Alejandra Barreda, “Reverso III”, 2013, Series: Reverso, Acrylic, oil, and graphite on canvas, 150 x 150 cm. Particular. Photo credit: Martín Potente.
- Alejandra Barreda, “Descentrar”, 2015, Acrylic, oil, and graphite on canvas, 150 x 150 cm. Photo credit: Martín Potente.
- Alejandra Barreda, “Dieciseis”, 2014; Acrylic, oil, and graphite on canvas, 20 x 20 cm each. Site-specific project. Location: RO Galería de arte, Buenos Aires, Argentina. Photo credit: Daniel Kiblisky.
- Alejandra Barreda, “Al margen”, 2014, Series: Al margen, políptico; Acrylic, oil, and graphite on canvas, Variable dimensions. Site-specific project. Location: RO Galería de arte, Buenos Aires, Argentina. Private collection. Photo credit: Daniel Kiblisky.
- Alejandra Barreda, “Al margen VIII”, 2014, Series: Al margen, Acrylic, oil, and graphite on canvas, 150 x 50 cm. Photo credit: Alejandra Barreda.
- Alejandra Barreda, “Sin título”, 2007, cuatro piezas; Oil on cut canvas, 30 x 30 cm each. Photo credit: Alejandra Barreda.
- Alejandra Barreda, “Envés / revés VII”, 2013, Series: Envés / revés, díptico; Acrylic, oil, and graphite on canvas, 150 x 170 cm. Photo credit: Daniel Kiblisky.
- Alejandra Barreda, “Intermedio”, 2014, díptico; Acrylic, oil, and graphite on canvas, 80 x 70 cm. Photo credit: Daniel Kiblisky.
- Alejandra Barreda, “64”, 2015, Oil on cut canvas, 50 x 60 cm. Photo credit: Martín Potente.
- Alejandra Barreda, “Envés / revés”, 2012, Series: Envés / revés, díptico; Acrylic, oil, and graphite on canvas, 150 x 170 cm. Museo de Arte Contemporáneo de Buenos Aires. Photo credit: Alejandra Barreda.
- Alejandra Barreda, “Fuera de paréntesis II”, 2013, Series: Fuera de paréntesis, políptico; Acrylic, oil, and graphite on canvas, 80 x 200 cm. Photo credit: Daniel Kiblisky.
- Alejandra Barreda, “A dónde van las líneas”, 2009, Series: libro de artista, Stencil, pigments and acrylic medium. Coptic stitching. seven copies, 15 x 20,5 cm (folded). Photo credit: Galería 1/1.
- Alejandra Barreda, “Dos”, 2009, Series: libro de artista, Stencil, pigments and acrylic medium. Seven copies, 10 x 10 x 3 cm (folded). Photo credit: Galería 1/1.
October 4, 2013 Magdalena Atria https://abstractioninaction.com/artists/magdalena-atria/
Translated from Spanish
My work relates to the modernist tradition of geometric abstraction, but aiming to connect it to specific visual situations, found throughout the world. Differently from the traditional modernist abstraction that aspired to the absolute, to an incorporeal dimension of pure relations and exchanges, the focus of my work is rather in the impossibility of reaching that objective. Images, objects and materials that I use already possess or acquire through the work this double nature of contingency and idealism, and manifest the tension that keeps us permanently attached to one and yearn for the other. Some constants in my work are the tension between the rational and the emotional, the collective and the personal, the real and the ideal, the formal and the symbolic. I explore these notions through different mediums—painting, drawing, sculpture and photography—always with a particular emphasis on the materials and processes I utilize. These materials belong to specific uses and traditions and carry with them meanings and associations related to these origins.
Mi trabajo se relaciona con la tradición modernista de la abstracción geométrica, pero intenta conectarla con situaciones visuales específicas encontradas en el mundo. A diferencia de la abstracción dentro de la tradición modernista que aspiraba a lo absoluto, a una dimensión incorpórea de relaciones y correspodencias puras y permanentes, el foco de mi trabajo está más bien en la imposibilidad de alcanzar tal objetivo. Las imágenes, objetos y materiales que utilizo ya poseen, o bien adquieren en el trabajo esta doble condición de contingencia e idealidad, y manifiestan la tensión que nos mantiene permanente atados a una y anhelando la otra. Algunas constantes en mi trabajo son la tensión entre lo racional y lo emocional, lo colectivo y lo personal, lo real y lo ideal, y entre lo formal y lo simbólico: exploro estas nociones en diferentes medios: pintura, dibujo, escultura y fotografía, siempre con un énfasis particular en los materiales y procesos que empleo. Los materiales que uso pertenecen a usos y tradiciones específicas y acarrean con ellos significados y asociaciones relativos a esos orígenes.
Selected Biographical Information
Education / Training
- 1995-1997: Parsons School of Design, MFA, New York, USA.
- 1984-1989: Universidad Católica de Chile, Licenciatura en Artre, Santiago, Chile.
Prizes / Fellowships
- 2012: CCA Grant, Universidad católica de Chile.
- 2010: CCA Grant, Universidad Católica de Chile.
- 2008: FONDART, Chile.
- 2005: FONDART, Chile.
- 2003: FONDART, Chile.
- 2002: FONDART, Chile.
- 2005: Fundación Andes, Chile.
- 1995-1997: Fulbright Scholarship, USA.
Solo Exhibitions
- 2013: “Cenotes, Abierto x Obras“, Matadero Madrid, Madrid, Spain.
- 2013: “Love and Space“, Museo de Artes Visuales (MAVI), Santiago, Chile.
- 2011: “Sólidos Platónicos“, Galería YONO, Santiago, Chile.
- 2011: Galería Zavaleta Lab, Buenos Aires, Argentina.
- 2010: “Monstrous Moonshine“, Alejandra Von Hartz Gallery, Miami, Florida, USA.
- 2009: “Estados de cosas”, Biblioteca Viva, Santiago, Chile.
- 2009: “El lugar de lo invisible“, Sala Gasco, Santiago, Chile.
- 2008: “Ahora todo es peor”, Galería Moro, Santiago, Chile.
- 2004: “Contra la naturaleza”, Galería Animal, Santiago, Chile.
- 2004: “Transformaciones de lo mismo”, Galería Gabriela Mistral, Santiago, Chile.
Group Exhibitions
- 2013: Proyecto Trapananda, Coyhaique, Chile.
- 2013: “Efemérides: fragmentos selectos de la historia reciente de Chile”, Museo Histórico Nacional, Santiago.
- 2013: “Colección Juan Yarur: un retrato personal”, MAC, Santiago.
- 2012: “Memorias desde la bruma”, Museo de la Solidaridad Salvador Allende, Santiago, Chile.
- 2011: “Tong: Haein Art Project”, curated by Yu Yeon Kim, Haeinsa Temple, South Korea.
- 2011: XI Cuenca Biennial, Cuenca, Ecuador.
- 2011: “Tectonic Shift: Contemporary Art from Chile”, Saatchi Gallery-Phillips de Pury & Company, London, UK.
- 2010 Arte Contemporáneo y Patios de Quito, curated by Gerardo Mosquera, Museo Casa de Sucre, Quito, Ecuador.
- 2009: “The Sky Within my House”, curated by Gerardo Mosquera, courtyards of Córdoba, Spain.
- 2007: “Sur Scéne”, Chateau de Tours, Tours, France. 2007 VI Mercosul Biennial, Porto Alegre, Brazil.
- 2007: “Poetics of the Handmade”, The Museum of Contemporary Art (MOCA), Los Angeles, USA.
- 2005: “Marking Time”, Jack. S. Blanton Museum of Art, Austin, Texas, USA.
Publications
- Kim, Yu Yeon: Tong: Haein Art Project, exhibition catalogue, Haeinsa, South Korea, 2011. González-Lohse, Jorge: Revisión Técnica, Pintura en Chile; Ocho libros editors, Santiago, 2010.
- Ruiz, Alma: The place of the Invisible, exhibition catalogue, Sala Gasco, Santiago, 2009.
- Pérez-Barreiro, Gabriel: exhibition catalogue, VI Bienal de Mercosur, Porto Alegre, Brazil. Mosquera, Gerardo: Copiar el Edén: Copying Eden. Recent Art in Chile. Santiago: Puro Chile editions, 2006.
- Magdalena Atria, “Cenotes”, 2013, Painting, plasticine on floor, Variable dimensions, Site specific project. Location: Matadero, Madrid, Spain. Photo credit: Matadero Madrid
- Magdalena Atria, “Cenotes”, 2013, Painting, plasticine on floor, Variable dimensions, Site specific project. Location: Matadero, Madrid, Spain. Photo credit: Matadero Madrid
- Magdalena Atria, “Voy en camino”, 2013, Collage, kites on wall, 250 x 450 cm. Location: Museo de Artes Visuales, Santiago de Chile. Photo credit: Museo de Artes Visuales, Santiago de Chile
- Magdalena Atria, “Encuentros Casuales”, 2013, Rocks, Flocking, Variable dimensions. Location: Museo de Artes Visuales, Santiago de Chile. Photo credit: Museo de Artes Visuales, Santiago de Chile
- Magdalena Atria, “Encuentros Casuales” (Detail), 2013, Rocks, Flocking, Variable dimensions. Location: Museo de Artes Visuales, Santiago de Chile. Photo credit: Museo de Artes Visuales, Santiago de Chile
- Magdalena Atria, “Fire”, 2012, Polyurethane on aluminum board, 145 x 200 cm. Image courtesy of the artist.
- Magdalena Atria, “Dowsing Rod II”, 2012, Carved tree branch, 125 x 54 cm. Image courtesy of the artist.
- Magdalena Atria, “Platonic Solids”, 2011, Straw, MDF, acrylic paint, 160 x 304 x 490 cm. Collection A.M. Yaconi
- Magdalena Atria, “Carmen”, 2011, Gesso on wood, 51 x 67 cm. Location: Zavaleta Lab Gallery
- Magdalena Atria, “Santa María 0706”, 2010, Hand cut digital print, 31 x 44 cm. Location: Alejandra Von Hartz Gallery
- Magdalena Atria, “I will not see you die”, 2010, Plasticine, Variable dimensions. Site specific project. Location: Casa Museo de Sucre, Quito, Ecuador
- Magdalena Atria, “I will not see you die” (Detail), 2010, Plasticine, Variable dimensions. Site specific project. Location: Casa Museo de Sucre, Quito, Ecuador
- Magdalena Atria, “Monstrous Moonshine”, 2010, Plasticine, 200 x 600 cm. Location: Alejandra Von Hartz Gallery
- Magdalena Atria, “Smiling Desperately”, 2007, Toothpicks and clay, plasticine (on wall), Variable dimensions. Collection Juan Yarur, Santiago.