- Laercio Redondo, “Ponto cego (Blind spot)”, 2013. Installation with sound, wooden structure, mirror, and glass hatch to reveal underground passage. Dimensions: Variable, Site-specific. Photo credit: Sergio Araujo.
- Laercio Redondo, “Debret Room, general view”, 2013. 3 different works exhibited together; 1. Printed landscape: 77 stools with silkscreen on plywood, 77 books recommended by collaborators in the project; a venue for the seminar “Rio de Janeiro – Past and Present”. 2. Sale – faulty memory game: 9 double–sided silkscreen on plywood. 3. Be sad if you are able and you will see: Silkscreen on plywood, confetti made daily from the local newspaper. Dimensions: Variable. Photo credit: Sergio Araujo.
- Laercio Redondo, “Paisagem impressa” (Printed landscape), 2013. Edition of 3. 77 stools with silkscreen on plywood, 77 books recommended by collaborators in the project; a venue for the seminar “Rio de Janeiro – Past and Present”. Dimensions: 231cm X 363cm. Photo credit: Sergio Araujo
- Laercio Redondo, “Venda – jogo da memória falha” (Sale – faulty memory game), 2013, Edition of 2. 9 double-sided silkscreen on plywood. Dimensions: Variable. Photo credit: Sergio Araujo
- Laercio Redondo, “Carmen Miranda – Uma ópera da imagem (Carmen Miranda – An opera of the image)”, detail, 2010, Sound Sculpture, 8 mobiles with various materials. In collaboration with Marcia Sá Cavalcante Schuback (text), Variable dimensions. Photo credit: Sergio Araujo
- Laercio Redondo, “Carmen Miranda – Uma ópera da imagem (Carmen Miranda – An opera of the image), general view, 2010. Sound Sculpture, 8 mobiles with various materials. In collaboration with Marcia Sá Cavalcante Schuback (text). Dimensions: Variable. Photo credit: Sergio Araujo
- Laercio Redondo, “Title: Fachada (Façade)”, 2014. Series of wooden displays with silkscreen on plywood and glass, 100cm x 60cm x 2 (diptych), Photo credit: Mario Grisolli
- Laercio Redondo, “Esses tempos (MEC/D.N.E. 1937–1957) (These times [MEC/D.N.E.1937–1957])”, 2014, Silkscreen on plywood, approx. 245cm X 190cm. Photo credit: Mario Grisolli
- Laercio Redondo, “Le Corbusier 1936”, 2014, Edition of 10. Cast bronze, approx. 4cm X 180cm. Photo credit: Sergio Araujo
- Laercio Redondo, “Lembrança de Brasília (Memory from Brasília)”, 2012, Edition of 3, Silkscreen on plywood, 100cm X 70cm X 2 (diptych). Photo credit: Birger Lipinski
- Laercio Redondo, Lembrança de Brasília (Memory from Brasília), general view, 2012. Silkscreen on plywood, wall drawing & 2 videos. Dimensions variable. Photo credit: Marcelo Abdo Centeio
- Laercio Redondo, “A casa de vidro (The glass house)”, general view, 2008. Edition of 5. Description of technique: Installation with 2 videos (each 10 min. 25 sec. loop), Music: Goh Lee Kwang. In collaboration with Laura Erber (text), Dimensions variable, Photo credit: Birger Lipinski
- Laercio Redondo, “Desvios (Detour), general view”, 2015, Edition of 5, Installation with video (1 hour loop), wooden display, fern, fluorescent light and 2 textile curtains. In collaboration with Soraya Guimarães Hoepfner (text) and Birger Lipinski (curtains), variable dimensions. Photo credit: Birger Lipinski
- Laercio Redondo, “Desvios (Detour)”, detail curtain, 2015. Edition of 5. Textile curtain, approx. 4m x 10m. Photo credit: Sergio Araujo
- Laercio Redondo, “Desvios – Prelúdio (Detour -Prelude)”, 2015. Edition of 3. Silkscreen on plywood, 187cm X 216cm.
About the Artist
My artistic research and work engage extensively with collective memory and its erasure in society.
The works are often based on the interpretation of specific events in relation to the city, architecture and historical representation in relation to the present, searching for new meanings to forgotten aspects of a conflictive lexicon in whose internal movement the writing of history is disputed.
My interest is to create installations and multimedia works that emerge from a deep research into cultural dynamics, that takes Brazilian architecture and its practitioners as central figures of my research.
Important architectonic icons like Casa França Brasil, The Gustavo Capanema Palace also known architecturally as the Ministry of Education and Health Building or the figures as Athos Bulcão, Lina Bo Bardi, and Lota de Macedo Soares or Carmen Miranda are many times the starting point to develop my research.
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Mi investigación artística y obra están involucrados extensivamente con la memoria colectiva y su borramiento en la sociedad.
Las obras a menudo están basadas en la interpretación de eventos específicos en relación a la ciudad, la arquitectura y la representación histórica en relación al presente, buscando nuevos significados para los aspectos olvidados de un léxico conflictivo, en cuyo movimiento interno la escritura de la historia está en disputa.
Mi interés es el de crear instalaciones y obras multimedia que surgen de una investigación profunda sobre las dinámicas culturales, que toman a la arquitectura brasileña y sus practicantes como figuras centrales de mi investigación.
Importantes iconos arquitectónicos como Casa França Brazil, El Gustavo Capanema Palace también conocido arquitectónicamente como el edificio del Ministerio de Educación y Salud; o las figuras como Athos Bulcão, Lina Bo Bardi, y Lota de Macedo Soares, or Carmen Miranda, son muchas veces los puntos de partida para desarrollar mi investigación.
Selected Biographical Information
Education / Training
- 1999-2001: Master degree, Konstfack , Stockholm, Sweden.
Prizes / Fellowships
- 2011: Residence Botkyrka, project in collaboration with Birger Lipinski, Residence Botkyrka, Stockholm , Sweden.
- 2011: Konstnärsnämnden, 2 years Grant, Konstnärsnämnden, Stockholm, Sweden.
- 2008: IASPIS, Residency Program, IASPIS, Stockholm, Sweden.
- 2007: Batiscafo Residency Program, Batiscafo Residency Program, Havana, Cuba.
- 2005: Konstnärsnämnden, 1 year Grant, Konstnärsnämnden, Stockholm, Sweden.
- 2004-2005: Akademie Schloss Solitude, Residency Program, Akademie Schloss Solitude, Stuttgart, Germany.
- 2002: I mostra Rioarte Contemporânea , Museu de Arte Moderna, Rio de Janeiro, Brazil.
- 2002: II Prêmio Sergio Motta, Instituto Sergio Motta, São Paulo, Brazil.
Solo Exhibitions
- 2016: “Past Projects for the Future”, Dallas Contemporary, Dallas, USA.
- 2016: “Restauro / Restoration”, Ana Mas Projects, Barcelona, Spain.
- 2015: “O que acaba todos os dias”, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
- 2014: “Fachada/ Façade”, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.
- 2013: “Contos sem Reis – Tales with no Kings”, Casa França Brasil, Rio de Janeiro, Brazil.
- “Lembrança de Brasilia / Memory from Brasilia”, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.
- 2005: “Listen to me”, Kunsthalle Göppingen, Göppingen, Germany.
Group Exhibitions
- 2016: “Depois do Futuro“, EAV Parque Lage, Rio de Janeiro, Brazil.
- 2015: “The Devil is in the details“, Ka.Be Contemporary, Miami, USA.
- 2015: “Tarsila e Mulheres Modernas no Rio“, Museu de Arte do Rio, Rio de Janeiro, Brazil.
- 2014: “Do Valongo à Favela“, Museu de Arte do Rio, Rio de Janeiro, Brazil.
- 2014: “Idea di Frattura – Opinione Latina / 2“, Galleria Francesca Minini, Milan, Italy.
- 2014: “Josephine Baker and Le Corbusier in Rio – a Transatlantic Affair“, Museu de Arte do Rio, Rio de Janeiro, Brazil.
- 2014: “Dispositivos para um mundo (im)possível“, Galeria Nara Roesler – Roesler Hotel #25, , São Paulo, Brazil.
- 2014: “Brasil:Arte/Música / Brazil:Art/Music“, Zacheta Project Room, Warsaw, Poland.
- 2013: “Amor e ódio à Lygia Clark / Love and hate to Lygia Clark”, Zacheta National Gallery of Art, Warsaw, Poland.
- 2013: “Prêmio Pipa – Finalist“, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
- 2013: “Visão do Paraíso: Pensamento Selvagem“, ARTRIO, Rio de Janeiro, Brazil.
- 2013: “The right to the city“, Stedelijk Museum Bureau Amsterdam, Amsterdam, Holland.
- 2013: “The Insides are on the Outside”, SESC Pompéia, São Paulo, Brazil.
- 2013: “MAC 50: Doações Recentes 1“, Museu de Arte Contemporânea da Universidade de São Paulo, São Paulo, Brazil.
- 2012: “Esquemas para una Oda Tropical – An exhibition /a poem /a library / a landscape“, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.
- 2012: “Novas Aquisições 2010 – 2012 – Coleção Gilberto Chateaubriand, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
- 2011: “Bananas is my Business: The South American way“, Museu Carmen Miranda, Rio de Janeiro, Brazil.
- 2010: “Um so Mehr“, Kunsthalle Göppingen, Göppingen, Germany.
- 2006: “Geração da Virada“, Instituto Tomie Ohtake, São Paulo, Brazil.
Publications
- Laercio Redondo, Intimacies – Proximidades (Berlin: The Green Box), 120.
- Laercio Redondo, I need You (Göppingen: Kunsthalle Göppingen), 60.
- Tobi Maier, “O que acaba todos os dias / What Ends Every Day”, Artforum, New York, USA, April 2016, 257.
- Paula Alzugaray, “Feminismo em campo expandido“, Select Magazine, Brazil, 05/02/2016.
- Luisa Duarte, “Lendo os sons do silêncio“, Jornal O Globo, Brazil, 04.JAN.2016.
- Kaira M. Cabañas, “Laercio Redondo – Casa França Brasil“, Artforum, New York, USA, Summer 2013, 381.
- Paula Alzugaray, “Visão oblíqua do Rio“, Revista Istoé Independente, Edição 2263, 28.03.13.
- Fernanda Lopes, “Uma história que não anda em linha reta”, Select Magazine, Brazil, 24/04/2013.
Collections
- Andrea & José Olympio Pereira Collection, São Paulo, Brazil.
- Gilberto Chateaubriant Collection, Rio de Janeiro, Brazil.
- Itaú Cultural Collection, São Paulo, Brazil.
- Kunsthalle Göppingen, Göppingen, Germany.
- Museu de Arte Contemporânea da USP São Paulo, São Paulo, Brazil.
- Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
- Pinacoteca de São Paulo, São Paulo, Brazil.
- Martin Cordiano, “Common Places”, 2015. Installation. Plywood, Skirting Boards, Plaster Balls. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Desniveles” detail, 2016. Installation, Wood, Roof tiles. Dimensions variable. Photo Credit: Gustavo Lowry.
- Martin Cordiano, “Desniveles”, 2016, Wood, Roof tiles, Variable dimensions. Photo credit: Courtesy WALDEN Gallery and Gustavo Lowry.
- Martin Cordiano, “Common Places” detail, 2015. Installation. Plywood, Skirting Boards, Plaster Balls. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “One Bedroom, Flat”, 2012. Installation. Wood, Recycled wood. Dimensions variable. Photo Credit: Courtesy of Walden Gallery.
- Martin Cordiano, “Greywashing” detail, 2013. Installation. Household Paint, Trestle legs Table. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Greywashing”, 2013. Installation. Household Paint, Trestle legs Table. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Borrowed Space” detail, 2015. Intervention. Endorsement Ink Stamp. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Borrowed Space”, 2015. Intervention. Endorsement Ink Stamp. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Living Colours”, 2015. Installation. Household Paint. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Desniveles” , 2016. Installation, Wood, Roof tiles. Dimensions variable. Photo Credit: Gustavo Lowry.
- Martin Cordiano, “Untitled ( Rubble)”, 2013. Sculpture. Rubble, carrier bag, fruit box. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “One Roof, Many Roofs”, 2010. Sculpture. Wood. Dimensions 200 cm 85cm x 60cm. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Segments”, 2013. Sculpture. Household Paint, wood. Dimensions 150 cm x 104 cm x 80 cm. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Remittances”, 2010 / On-going. Object. Brick, wood. Dimensions 21cm x 11cm x 8cm. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Drift”, 2013. Installation. Household Paint. Dimensions 490cm x 300 cm x 50 cm. Photo Credit: Courtesy of the artist.
About the Artist
As a visual artist I aim to make constructions that offer an insight into the relationship with others and with the space that surrounds us; as well as to explore routine and the way we inhabit space. My practice is an exploration of the contradiction between the dynamic world we live in and the rigid structures of the building environment and architecture that contains it. As a result, art is used as lens to think and rethink this language, trying actively to renegotiate meaning through asking questions differently. Laying down the platform to engage in conversation to try to renegotiate these agreements.
Eminently simple yet complex in its implications, my work stands as a paradigm for a practice of making, which is beyond either art or architecture.
I experiment on and in the real world. Pulling apart the structures of our everyday life, playing with the materials out of which we construct our surroundings and our implements, and opening up new spaces within a world we thought we had defined. What remains inherent throughout my practice is the sense of experimentation and investigation that operates as an extension of our ability to be at home in the world, to remake our reality, and to question our existence through what we make.
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Como artista visual me propongo realizar construcciones que ofrecen una mirada sobre la relación con otros y con el espacio que nos rodea; como también de explorar la rutina y la forma como habitamos el espacio. Mi practica es una exploración de las contradicciones entre el mundo dinámico en el cual vivimos y las estructuras rígidas del paisaje construido y de la arquitectura que la contiene. Como resultado, el arte es empleado como un lente para pensar y repensar este lenguaje, de tratar activamente de renegociar el sentido, al preguntar de otras formas. Construir una plataforma para propiciar conversaciones e intentar renegociar estos acuerdos.
Eminentemente simple pero a la vez complejas estas implicaciones, mi obra se plantea como un paradigma para la practica del hacer, que va mas allá del arte y de la arquitectura.
Yo experimento sobre y dentro del mundo real. Yo desarmo las estructuras del día a día, jugando con los materiales con los cuales construimos nuestros entornos y nuestros implementos, y así abrir nuevos espacios dentro del mundo que pensamos habíamos definido. Lo que se mantiene inherente a lo largo de mi práctica es el sentido de experimentación e investigación que opera como extensión de nuestra habilidad de sentirnos en casa en el mundo, de rehacer nuestra realidad, y de interrogar nuestra existencia a través de lo que hacemos.
Selected Biographical Information
Education / Training
- 2011-2013: MA Fine Arts, Central Saint Martins College of Art and Design, University of the Arts, London, United Kingdom.
Prizes / Fellowships
- 2013: Bursary Awards 2013, Royal British Society of Sculptures, London, United Kingdom.
- 2012: Red Mansion Art Prize, Red Mansion Fundation, London, United Kingdom.
- 2011: Residency, MAC/VAL Residency. Musée d’Art Contemporain du Val-de-Marne, Paris, France.Lumen” en el barco Ms Bleichen.
Solo Exhibitions
- 2016: “Espacio de Uso“, Walden Gallery, Buenos Aires, Argentina.
- 2015: “Common Places”, Galerie Knoerle & Baettig, Winthertur, Switzerland .
- 2013: “Provisional for Life“, MPA Gallery, London, United Kingdom.
Group Exhibitions
- 2016: “Playhouse”, Open House, Argentine Ambassador’s Residency, London, United Kingdom.
- 2015: “My Buenos Aires“, La Maison Rouge, Paris, France.
- 2015: “Space intervention”, Obrera centro, DF, Mexico.
- 2014: “On Site”, TAP Temporary Arts Project, South End-on-Sea, UK.
- 2013: “Mom am I a Barberian”, 13th Istanbul Biennial, Istambul, Turkey.
- 2013: “Bursary Awards”, Royal British Society of Sculptors, London, United Kingdom.
- 2013: “Maps of the Present Past”, The Invisible line, London, United Kingdom.
- 2013: “Red Mansion Prize. “, Red Mansion Fundation, London, United Kingdom.
- 2013: “Future Maps 12”, Lethaby Gallery, London, United Kingdom.
- 2012: “Biens communs”, MAMCO, Musée d’art moderne et contemporain, Geneve, Switzerland .
- 2011: “Dominio”, MAC-VAL. Musée d’Art Contemporain du Val-de-Marne., Paris, France.
Collections
- MAMCO, Musée d’art moderne et contemporain, Geneve, Switzerland.
- Rodrigo Canala, “Emblema Rosa”, 2014-2015, Rotulador, bolígrafo, grafito, óleo, esmalte sintético, pasta gravillante, cartón piedra, madera prensada, marco de madera pintado, vidrio corriente, 80.5 x 65.5 x 5 cm. Photo credit: Tomás Rodríguez.
- Rodrigo Canala, “Arma #1 (matamoscas)”, 2007, Matamoscas, escarcha metálica, 42.5 x 10.5 cm.
- Rodrigo Canala, “Arma #2 (luma)”, 2007, Bastón de seguridad, escarcha metálica, 55.5 x 15 aprox. cm.
- Rodrigo Canala, “Autorretrato”, 2014-2015, Rotulador, bolígrafo, grafito, papel cuadriculado, cartulina metalizada, marco de madera, vidrio corriente, 36 x 29.7 x 3 cm. Photo credit: Tomás Rodríguez .
- Rodrigo Canala, “Bandera”, 2014-2015, Esmalte sintético, óleo, rotulador, madera prensada, marco de madera pintado, vidrio corriente, 63.5 x 43.7 x 4.5 cm. Photo credit: Tomás Rodríguez.
- Rodrigo Canala, “Corona #2 (radar)”, 2012, Defensa metálica, escarcha plateada, soporte de aluminio, madera aglomerada, motor y cable eléctricos, 113.5 x 25 x 25 cm. Photo credit: Sebastián Mejia.
- Rodrigo Canala, “Corona”, 2006, Defensa metálica, escarcha dorada, tornillos, concreto, 20 x 44 x 13 cm. CCU. Photo credit: Tomás Rodríguez.
- Rodrigo Canala, “Diamante hueco”, 2011, Spray sobre vidrio exterior, Variable dimensions. Site-specific project. Location: Galería Tajamar, Santiago, Chile. Photo credit: Sebastián Mejía.
- Rodrigo Canala, “El Patria”, 2006, Madera aglomerada, motores eléctricos, resina de poliéster, pintura, cable de acero, cable eléctrico (circuito variador de frecuencia), 200 x 570 x 200 cm. Colección Juan Yarur.
- Rodrigo Canala, “Escudo #2”, 2015, Fierro estructural, soldadura, esmalte sintético, tornillos, 100 x 70 x 9,5 cm. Privada colección. Santiago de Chile. Photo credit: Tomás Rodríguez .
- Rodrigo Canala, “Escudo, espejo, estandarte #2”, 2011-2012, Esmalte sintético, madera prensada, marco de madera pintado, vidrio corriente, 156 x 106 cm. MAVI. Photo credit: Tomás Rodríguez.
- Rodrigo Canala, “Paramento”, 2007, Madera aglomerada, terciopelo sintético, ampolletas incandescentes (circuito secuencial), portalámparas, tela de PVC, diversos objetos, cable eléctrico, 280 x 857 x 138 cm.
- Rodrigo Canala, “Señal”, 2011, Madera aglomerada, ampolletas incandescentes (circuito secuencial), portalámparas, pasta gravillante, pintura, bolígrafo, cable eléctrico, 237 x 117 x 117 cm. Museo de Artes Visuales (MAVI). Photo credit: Sebastián Mejía.
- Rodrigo Canala, “T.F.P.”, 2007, Polvo doméstico sobre muro, Variable dimensions.
- Rodrigo Canala, “Revelación”, 2014-2015, Rotulador, bolígrafo, grafito, papel milimetrado, cartulina metalizada, marco de madera, vidrio corriente. (Colaboración con Cristián Silva), 44.5 x 32.5 x 1 cm. Photo credit: Tomás Rodríguez.
- Rodrigo Canala, “Escudo #1”, 2015, Fierro estructural, soldadura, esmalte sintético, tornillos, 50 x 37.5 x 7.3 cm. Photo credit: Tomás Rodríguez.
About the Artist
En mi trabajo, por lo general volumétrico y otras veces gráfico, utilizo preferentemente materiales innobles, comunes o de bajo costo (madera aglomerada, escarcha metálica, polvo doméstico, luz artificial, pintura industrial). Éstos, a través de un tratamiento preciosista, obtienen una apariencia delicada e ilusoria. Muchas veces mis obras son acompañadas por aparatos eléctricos y electromecánicos, dotándolas de una condición móvil que acentúa dicho ilusionismo.
Basándome en una iconografía local popular (arquitectura pastiche, escenografía de televisión, estética de kermés o de pacotilla) y, por otra parte, en referencias artísticas como el arte óptico, cinético, abstracto y constructivista, recurro a diseños y patrones usualmente geométricos y decorativos (cercos, guirnaldas, rúbricas, destellos). Las obras muestran, finalmente, una parquedad y precariedad estructural, pero aún así cierta ostentación ornamental; están completa e irónicamente expuestas y, a su vez, son objeto de seducción y contemplación.
Mi trabajo, pienso, genera en el espectador una mezcla entre quietud y expectación, o lo que llamo “inercia óptica”. Se trata de una apariencia cautivante, hipnótica, “bella” y, a la vez, provocativa o amenazante, en la que se esconde en último término, una crítica paródica a una contingencia tendiente al espectáculo y a la exclusión, manifiesta no solo en el cotidiano y los mass media, sino también en el mismo arte.
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In my work, usually volumetric and sometimes graphic, I employ preferably ignoble, ordinary, or low cost materials, (chipboard, metallic chipping, domestic dust, artificial light, industrial paint). These, through an embellishing process, achieve a delicate and illusory appearance. Many times my works are accompanied by electric and electro mechanic equipment, which provide mobility, thus stressing the illusionary quality of the works.
Based on the one hand on local popular iconography (architecture, pastiche, television scenography, Kermés or trashy aesthetics) and on the other hand, it carries artistic references such as Op art, Kinetic art, abstract and constructivist art; I turn to designs and patterns which are usually geometric and decorative (wreaths, garlands, signs, glitter). The works show, finally a sparingness, a structural precariousness, though a certain ornamental ostentation. They are totally and ironically exposed, and at the same time, they are objects of seduction and contemplation.
My work, I think, generates in the spectator a combination of calm and expectation, or what I call “optical inertia.” It bears a captivating appearance, hypnotic, “beautiful”; and at the same time, provocative and threatening, in which what is hidden ultimately, is a parodic critique to a contingency which leans towards the spectacle and the exclusion, not only manifest in the daily, the mass media, but in art itself.
Selected Biographical Information
Education / Training
- 1998-1999: Magíster en Artes mención Artes Visuales, Universidad de Chile, Santiago, Chile.
- 1993-1996: Licenciado en Arte, Universidad Finis Terrae, Santiago, Chile.
Prizes / Fellowships
- 2012-2011: Beca Corporacion Arte+, Galería Patricia Ready, Santiago, Chile.
- 2009: Beca FONDART (Fondo Nacional de Desarrollo Cultural y las Artes), Ministerio de Educación, Santiago, Chile.
- 2007: Premio 2º Lugar, 7º Concurso Artistas Siglo XXI, Pontificia Universidad Católica de Chile, Santiago, Chile.
- 2005: Premio 1º Lugar, 5º Concurso Artistas Siglo XXI, Pontificia Universidad Católica de Chile, Santiago, Chile.
- 2005: Beca FONDART (Fondo Nacional de Desarrollo Cultural y las Artes), Ministerio de Educación, Santiago, Chile.
- 2004: Beca FONDART (Fondo Nacional de Desarrollo Cultural y las Artes), Ministerio de Educación, Santiago, Chile.
- 2003: Beca FONDART (Fondo Nacional de Desarrollo Cultural y las Artes), Ministerio de Educación, Santiago, Chile.
- 2001: Premio Mencion Especial, 23º Concurso Nacional Arte y Poesia, Universidad de Valparaíso, Valparaíso, Chile.
- 2000: Beca FONDART (Fondo Nacional de Desarrollo Cultural y las Artes), Ministerio de Educación, Santiago, Chile.
- 1999: Beca FONDART (Fondo Nacional de Desarrollo Cultural y las Artes), Ministerio de Educación, Santiago, Chile.
- 1999: Beca Amigos del Arte, Corporación Amigos del Arte, Santiago, Chile.
Solo Exhibitions
- 2015: “Diseños”, Galería Patricia Ready, Santiago, Chile.
- 2013: “Circus”, Sala Puntángeles (Universidad de Playa Ancha), Valparaíso, Chile.
- 2012: “Deco”, Galería Patricia Ready, Santiago, Chile.
- 2011: “Diamante hueco”, Galería Tajamar, Santiago, Chile.
- 2011: “Señas, bordes, vacíos”, Galería YONO, Santiago, Chile.
- 2011: “Destellos negros”, Galería Centro, Santiago, Chile.
- 2007: “Suite-Patrón”, Galería Die Ecke, Santiago, Chile.
- 2004: “Edén”, Galería Artespacio, Santiago, Chile.
- 1999: “Ejercicio de contrapunto”, Club de Jazz de Santiago, Santiago, Chile.
Group Exhibitions
- 2015: “La misma”, Galería Die Ecke, Santiago, Chile.
- 2013: “Colección Juan Yarur: un relato personal”, Museo de Arte Contemporáneo, Santiago, Chile.
- 2011: “Indios verdes”, Museo Nacional de Bellas Artes, Santiago, Chile.
- 2011: “Traveling light: five artists from Chile”, Art Museum of the Americas, Washington, D.C., Estados Unidos.
- 2011: “La oscura vida radiante”, CeAC (Centro de Arte Contemporáneo), Santiago, Chile.
- 2010: “Contaminaciones contemporáneas”, Museu de Arte Contemporánea da Universidade de São Paulo, São Paulo, Brasil.
- 2009: “Material ligero: five artists from Santiago, Chile travelling light”, VCA Margaret Lawrence Gallery (The University of Melbourne), Melbourne, Australia.
- 2007: “Stgo/Bog/Stgo. Envío de arte contemporáneo chileno”, Galería Valenzuela Klenner , Bogotá, Colombia.
- 2007: “If I can make it here, I’ll make it anywhere (Proyecto Hoffmann’s House) “, White Box, Nueva York, Estados Unidos.
- 2006: “5a Bienal de artes visuales. Utopías de bolsillo”, Museo Nacional de Bellas Artes, Santiago, Chile.
- 2005: “Arte contemporáneo chileno. Desde el otro sitio/lugar”, National Museum of Contemporary Art, Seúl, Corea.
- 2004: “Falso”, Centro Cultural de España , Santiago , Chile.
- 2002: “Frutos del país”, Museo de Arte Contemporáneo, Santiago, Chile.
- 2002: “Sentido común”, Galería Balmaceda 1215, Santiago, Chile.
- 2000: “ESC.1:6”, Galería Animal, Santiago, Chile.
- 1998: “Material dispuesto”, Galería Posada del Corregidor, Santiago, Chile.
Links
June 15, 2016 Óscar Abraham Pabón https://abstractioninaction.com/artists/oscar-abraham-pabon/- Oscar Abraham Pabon, “Estetización de un punto móvil”, 2010, Installation with intervened plane and assembly with parts of synthetic fabric umbrella, Variable dimensions.
- Oscar Abraham Pabon, “Ciudad de Sión (Ornato)”, 2009, Intervention in public spaces / A4 size white paper and spray paintend stencils over corrugated sheets of zinc, Variable dimensions.
- Oscar Abraham Pabon, “Puddle Jumpers (Salta Charcos)”, 2010, Interventions in public spaces / reinforced concrete, Variable dimensions. Colección Patricia Phelps de Cisneros (CPPC).
- Oscar Abraham Pabon, “How to be a table while remaining a sculpture?”, 2013, Wooden table intervened, Variable dimensions.
- Oscar Abraham Pabon, “XYZ”, 2013, Sectioned carpet, Variable dimensions.
- Oscar Abraham Pabon, “Automatic writing”, 2013, Chinese ink on toilet paper, Variable dimensions.
- Oscar Abraham Pabon, “Automatic writing”, 2013, Chinese ink on toilet paper, Variable dimensions.
- Oscar Abraham Pabon, “Automatic writing”, 2013, Chinese ink on toilet paper, Variable dimensions.
- Oscar Abraham Pabon, “Expanded sculpture”, 2013, sectioned carpet, Variable dimensions. Rijksakademie van Beeldende Kunsten.
- Oscar Abraham Pabon, “Expanded sculpture”, 2013, sectioned carpet, Variable dimensions. Rijksakademie van Beeldende Kunsten.
- Oscar Abraham Pabon, “Sculptural tradition I”, 2013, 1 Metal sculpture 1 Carpet and 1 Photograph, Variable dimensions.
- Oscar Abraham Pabon, “Sculptural tradition I”, 2013, 1 Metal sculpture 1 Carpet and 1 Photograph, Variable dimensions.
- Oscar Abraham Pabon, “The Origin of the circle II”, 2014, sectioned carpet, Variable dimensions.
- Oscar Abraham Pabon, “Latin American sculptural tradition”, 2015, sectioned carpet, Variable dimensions.
- Oscar Abraham Pabon, “horizontal sculpture”, 2011, Reinforced concrete, Variable dimensions. Site-specific project. Location: Alcaldía de Baruta, parque terrazas del Avila , Caracas, Venezuela.
- Oscar Abraham Pabon, “Floating Sculpture”, 2015, Wood, plastic sheeting and floats, Variable dimensions. Site-specific project. Location: Stichting Pieter Janszoon Saenredam, barendrecht – Rotterdam, Nederland. Stichting Pieter Janszoon Saenredam.
Selected Biographical Information
Education / Training
- 2013-2015: Rijksakademie van Beeldende Kunsten, Amsterdam, The Netherlands.
- 2006-2011: Taller de Arte contemporáneo de Caracas TAC con Antonio Lazo y Zeinab Bulhossen, Caracas, Venezuela.
- 2003-2008: Arquitecto, Universidad Experimental del Tachira UNET, San Cristobal, Tachira.
Prizes / Fellowships
- 2015: Production grant, Mondriaan Fonds , Amsterdam, The Netherlands.
- 2014: Art in the City, Selected Project, Kyiv Sculpture Project Prize (KSP), Kyiv, Ukraine.
- 2013: Scholarship Cees e Inge de Bruin-Heijn, Amsterdam, The Netherlands.
- 2011: Training scholarship, Patricia Phelps de Cisneros foundation CPPC, Buenos Aires, Argentina.
- 2011: Residencia artistica, CIA Centro de Investigaciones artisticas, Buenos Aires, Argentina.
- 2011: Residencia artistic, Terra Una, Serra da Mantiqueira, Liberdade, Brazil.
- 2011: Residencia artistica, ALA artista en Latinoamerica, Valparaiso, Chile.
- 2010: Third Prize, salón Super Cable, jóvenes con FIA, Caracas, Venezuela.
- 2010: Residencia artística , KIOSKO, Santa Cruz de la Sierra, Bolivia.
- 2008: Sculpture Award, International Competition, Alameda Sol de Oriente, Cali, Colombia.
- 2007: Honorable Mention, VII Salon Nacional de fotografia Seguros Catatumbo, Maracaibo, Venezuela.
- 2007: Honorable Mention, Salon Naciona de arte visuales de la ciudad de Coro, Coro, Venezuela.
- 2007: Premio de Fotografía , Salon Binacional de artes Visuales CONFANORTE, Pamplona, Colombia.
Solo Exhibitions
- 2015: “Typical modernity”, Martin van Zomeren gallery, Amsterdam, The Netherlands.
- 2015: “Soloproject“, Swab, Barcelona, Spain.
- 2015: “Sculpture and repetition“, Bergarde gallery, Rotterdam, The Netherlands.
- 2015: “Interior Francés“, Oficina # 1, Caracas, Venezuela.
- 2014: “XYZ“, Martin van Zomeren, Amsterdam, The Netherlands.
- 2012: “Proyecto / Escultura“, Oficina#1, Caracas, Venezuela.
- 2011: “La imagen de los tiempos“, Al Borde, Maracaibo, Venezuela.
- 2011: “De la herencia a lo heredado“, Oficina # 1, Caracas, Venezuela.
- 2010: “S/t“, Kiosko, Santa Cruz de la Sierra, Bolivia.
- 2005: “Geometría sensible”, galeria Demetrio Silva, San Carlos, estado Cojedes, Venezuela.
- 2004: “Síntesis II”, galería Manuel Osorio Velasco, San cristobal, Venezuela.
- 2004: “Síntesis I”, Galería de arte el punto, San Juan de Colon, Venezuela.
- 2003: “Inquisiciones geométrica y color”, Sala de espacios visuales UNET, San Cristobal, Venezuela.
Group Exhibitions
- 2015: “TRÓPICOS“, Oficina # 1, Caracas, Venezuela.
- 2015: “Velada remix“, Hamburg, Germany.
- 2015: “REALIDADES INSTANTÁNEAS“, Sala Trasnocho Arte Contacto (TAC), Caracas, Venezuela.
- 2015: “ARTBO, International Contemporary Art”, nube gallery, Bogota, Colombia.
- 2015: “INTERVENCIONES TRIDIMENSIONALES“, Hacienda La Trinidad, parque cultural, Caracas, Venezuela.
- 2015: “Amsterdam Art Fair”, Martin van Zomeren, Amsterdam, The Netherlands.
- 2015: “ARTROTTERDAM, International Contemporary Art Fair”, Martin van Zomeren, Rotterdam, The Netherlands.
- 2014: “Open Studio“, Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands.
- 2014: “ARTISSIMA, International Contemporary Art Fair”, Martin van Zomeren, Turín, Italia.
- 2014: “ARTBO, International Contemporary Art Fair “, Oficina#1, Bogotá, Colombia.
- 2014: “Panorámica. Arte Emergente en Venezuela. 2000-2012“, Sala Trasnocho Arte Contacto (TAC), Caracas, Venezuela.
- 2014: “A.O.”, Martin van Zomeren, Amsterdam, The Netherlands.
- 2014: “ESCALA“, Oficina # 1, Caracas, Venezuela.
- 2014: “JustMad, International Contemporary Art Fair, COAM, “, nube gallery, Madrid, Spain.
- 2013: “Open Studio“, Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands.
- 2013: “The Right to the City“, Stedelijk Museum Bureau, Amsterdam, The Netherlands.
Publications
- Oscar Abraham Pabon, In the beginning was the Word (Amsterdam), 80.
- Oscar Abraham Pabon, New Modern Sculpture (Amsterdam), 50.
- Oscar, De la Herencia a lo Heredado (Caracas), 30.
- Felix Suazo, Panorámica, Arte Emergente en Venezuela 2000/2012 (Caracas: Telefónica Fundación), 80.
- Rosana Pabon, “Artista y arquitecto venezolano inauguró esculturas flotantes en Holanda“, entre rayas – revista de arquitectura, 18 sep 2015.
Collections
- Stichting Pieter Janszoon Saenredam, Rotterdam, The Netherlands.
- Cees e Inge de Bruin-Heijn, Amsterdam, The Netherlands.
- Patricia Phelps de Cisneros foundation CPPC, New York, USA.
- Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands.
- Colección Ella Fontanals-Cisneros CIFO, Miami, USA.
Links
October 9, 2015 Lucía Pizzani https://abstractioninaction.com/artists/lucia-pizzani/- Lucia Pizzani, “A Garden for Beatrix”, 2014-2015, Ceramic sculptures (stoneware and glazings) on pigment ink prints, Variable dimensions. Site-specific project. Location: Cecilia Brunson Projects (CBP), London, United Kingdom. Colección Juan Yarur. Photo credit: Patrick Dodds. Courtesy of CBP.
- Lucia Pizzani, “A Garden for Beatrix (Detail)”, 2014-2015, Ceramic sculpture (stoneware and glazings) on pigment ink prints, Variable dimensions. Site-specific project. Location: Cecilia Brunson Projects (CBP), London, United Kingdom. Colección Juan Yarur. Photo credit: Patrick Dodds. Courtesy of CBP.
- Lucia Pizzani, “A Garden for Beatrix (Detail)”, 2014-2015, Ceramic sculpture (stoneware and glazings) on pigment ink prints, Variable dimensions. Site-specific project. Location: Cecilia Brunson Projects (CBP), London, United Kingdom. Colección Juan Yarur. Photo credit: Patrick Dodds. Courtesy of CBP.
- Lucia Pizzani, “Sagrario Series”, 2015, Series: Sagrario, Collodion wet plate photography on aluminium, 24 x 18 cm. Photo credit: Patrick Dodds. Courtesy of CBP.
- Lucia Pizzani, “Sagrario #1”, 2015, Series: Sagrario, Collodion wet plate photography, 24 x 18 cm. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Unidentified Women A & B “, 2015, Video, sound piece with printed papers and folders, Variable dimensions. Photo credit: Patrick Dodds. Courtesy of CBP.
- Lucia Pizzani, “Unidentified Women A “, 2015, Sigle channel video without sound, (2’25”), Variable dimensions. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Textiles #1”, 2013, Series: Textiles, Wax print fabric, 160 x 40 x 60 cm. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Exhibition view of The Worshipper of the Image”, 2014, Ceramic sculptures (stoneware and glazings) and Photography (Collodion wet plates printed edition), Variable dimensions. Photo credit: Oskar Proctor. Courtesy of Beers Contemporary.
- Lucia Pizzani, “Duo. Impronta Series”, 2013, Series: Impronta, Collodion wet plate photography on aluminium, 13 x 9 cm. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Capullo A9”, 2013, Series: Capullos, Ceramic. Stoneware and glazings, 17 x 17 x 14 cm. Photo credit: Oskar Proctor. Courtesy of Beers Contemporary.
- Lucia Pizzani, “Capullo Series on view at Mariposario exhibition at Oficina#1”, 2013, Series: Capullo, Ceramic sculptures (stoneware and glazings) , Variable dimensions. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Catleya Lips and Siliceous Series. Exhibition view of Orchis”, 2012, Catleya Lips: Acrilyc laser cuts. Siliceous Series: stoneware and glazings, Variable dimensions. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Siliceous #1”, 2011, Series: Siliceous, Ceramic sculpture (stoneware and glazings), Variable dimensions. Colección Patricia Phelps de Cisneros (CPPC). Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Anala Series”, 2011, Pigment ink print on cotton paper, 60 x 40 cm. Photo credit: Courtesy of the artist.
My work revolves around issues of gender, the body, and a lifelong interest in nature. This combination also draws from my various studies in Visual Communication, Conservation Biology and Fine Arts. In recent years I have been developing a visual approach that uses photography, performance, installation, sculpture and video. Through these processes I tackle issues that concerned the Surrealists and the body art of the seventies, while maintaining a contemporary approach through my research-based practice. I seek stories that often come from literary and artistic references in significant periods both in Europe and South America. Ultimately I mix a wide range of aesthetics, cultures and historical figures in my work.
Traducido del inglés
Mi trabajo gira en torno a las cuestiones de género, el cuerpo, y un interés de por vida hacia la naturaleza. Esta combinación se basa también en mis diversos estudios en Comunicación Visual, Biología de la Conservación y Bellas Artes. En los últimos años, he desarrollado un enfoque visual a través de la fotografía, performance, instalación, escultura y video. A través de estos procesos, abordo cuestiones que preocupaban a los Surrealistas y al arte del cuerpo en los años setenta, manteniendo un enfoque contemporáneo a través de mi práctica basada en la investigación. Busco historias que a menudo provienen de referencias literarias y artísticas en períodos significativos tanto en Europa y América del Sur. En última instancia, mezclo en mi trabajo una amplia gama de la estética, las culturas y figuras históricas.
Selected Biographical Information
Education / Training
- 2008-2009: Masters in Fine Arts, Chelsea College of Arts and Design, London, United Kigndom.
- 2001-2002: Certificate in Conservation Biology, CERC Columbia University, New York, USA.
- 1993-1998: BA in Visual Communications, Universidad Católica Andres Bello, Caracas, Venezuela.
Prizes / Fellowships
- 2014: Hotshoe Photofusion Award 2014, Photofusion, London, United Kingdom.
- 2013: Special Mention Region 0 Video Art Festival, KJCC-NYU, New York, USA.
- 2013: Emerging Artist Award , AICA-Venezuela Association of International Art Critics, Venezuelan chapter, Caracas, Venezuela.
- 2013: XII Premio Eugenio Mendoza, Fundación Sala Mendoza, Caracas, Venezuela.
- 2006: Second Prize IX Salon CANTV de Jóvenes Artistas FIA , Feria Iberoamericana de Arte (FIA), Caracas, Venezuela.
Solo Exhibitions
- 2015: “A Garden for Beatrix“, Cecilia Brunson Projects, London, United Kingdom.
- 2014: “The Worshipper of the Image“, Beers Contemporary, London, United Kingdom.
- 2014: “El Adorador de la Imagen”, Sala Mendoza, Caracas, Venezuela.
- 2013: “Mariposario“, Oficina#1, Caracas, Venezuela.
- 2011: “Orchis”, Galería Fernando Zubillaga, Caracas, Venezuela.
- 2009: “Vessel”, Galería Fernando Zubillaga, Caracas, Venezuela.
- 2007: “Absent Portraits”, HACS (Miami) & La Carnicería (Caracas), Miami & Caracas, USA & Venezuela.
- 2003: “Vestigios”, Sala Mendoza. La Librería, Caracas, Venezuela.
Group Exhibitions
- 2014: “Solo Project with Oficina#1”, Pinta London curated by Kiki Mazzucchelli & Catherine Petitgas, London, United Kingdom.
- 2013: “Region 0 Video Art Festival“, Museo de Arte Contemporáneo de Vigo (MACRO), Vigo, Spain.
- 2013: “Solo Project curated by Octavio Zaya”, Pinta Video at Pinta NY, New York, USA.
- 2013: “Region 0“, The Latino Video Art Festival of NY, King Juan Carlos I Center at NYU, New York, USA.
- 2013: “Masquerade – Be Another”, Stephen Lawrence Gallery, London, United Kingdom.
- 2013: “XII Premio Eugenio Mendoza”, Sala Mendoza, Caracas, Venezuela.
- 2012: “Deseo y transgresión curated by Jesus Torrivilla”, Periferico Caracas. II Taller de curaduría – Centro de Arte Los Galpones, Caracas, Venezuela.
- 2011: “Friendship of the people”, Simon Oldfield Gallery, London, United Kingdom.
- 2011: “The Winter Show”, Maddox Arts, London, United Kingdom.
- 2010: “Guest Artist”, Bienal Internacional de Arte Contemporáneo ULA, Merida, Venezuela.
- 2010: “Curated Series of Moving Images”, Art Reach, Nottingham, United Kingdom.
- 2010: “ITINERANTE/PASSERBY/ZEITLICH”
, GBG Arts, Caracas, Venezuela. - 2009: “Beyond Appearances”, Lehman College Art Gallery, Bronx, NY, USA.
- 2008: “MOLAA Collects Photo-Based Art”, Museum of Latin American Art MOLAA, Long Beach, USA.
- 2008: “Lasts days of summer”, Alejandra Von Hartz Gallery, Miami, USA.
- 2008: “64th Salon Arturo Michelena”, Arturo Michelena Museum, Valencia, Venezuela.
- 2007: “Tipos Moviles-Bogota”, Universidad de los Andes, Project Space, Bogotá, Colombia.
- 2007: “YO, Contemporary Self-portraits”, Solar Gallery, East Hampton, NY, USA.
- 2006: “Queens Bienalle. Queens International 06: Everything all at once”, Queens Museum, Queens, NY, USA.
- 2006: “Identidades”, Galería El Museo, Bogotá, Colombia.
- 2006: “I Bienal del Agua “, Museo Jacobo Borges, Caracas, Venezuela.
- 2005: “Traveling Tales curated by Camila Marambio”, Aratori Warairapa Art Museum, Masterton, New Zeland.
- 2003: “L Factor”, Exit Art, New York, USA.
Publications
- Felix Suazo, Panorámica: Arte Emergente en Venezuela 2000-2012 (Caracas: Fundación Telefónica).
- Nicola Homer, “Lucía Pizzani: Interview“, Studio International, 24/07/2014.
- Apóstol, Alexander y González, Lorena, “El arte venezolano en las instituciones de fin de siglo“, El País, 14 Marzo 2013.
- Miranda Gavin, “Lucía Pizzani: A Garden for Beatrix“, Hotshoe Magazine Blog, 02/06/2015.
- Vasi Hirdo, “Corporeal Metamorphoses“, Ceramics Now, , 56, 57.
- Celeste Olalquiaga, “Lucía Pizzani: la adoradora de mariposas“, Artishock, 17/03/2014.
- Gabriela Salgado, “Lucía Pizzani: Beers Contemporary“, ArtNexus, 101.
Collections
- Colección Patricia Phelps de Cisneros (CPPC), Caracas – NY, Venezuela – USA.
- Essex Collection for Art from Latin America (ESCALA), Essex, United Kingdom.
- Colección Juan Yarur, Santiago de Chile, Chile.
- Museum of Latin American Art MOLAA, Long Beach, USA.
- Colección Banco Mercantil, Caracas, Venezuela.
- Pier Stockholm, “Elephant Island”, 2014, Fluorescent lights, plants, wood board, cables, drawing curve ruler, photograph with frame, transparent plastic and clamps, Variable dimensions.
- Pier Stockholm, “Elephant Island” (detail), 2014, Installation, Plants, mdf wood board, drawing curve ruler, photograph with green filter and painted frame, transparent red plastic, clamps and push pins.
- Pier Stockholm, “Elephant Island”, 2014, Detail: curve ruler, photograph with frame, transparent plastic and clamps, Variable dimensions.
- Pier Stockholm, “Chromatic”, 2014, Gouache & paper cut on paper, 93 x 127 cm.
- Pier Stockholm, “Oscar 3”, 2012, Foam, wood with red acrylic paint, Dymo tag, ruler, elastic band & level, Variable dimensions.
- Pier Stockholm, “Prismatic”, 2012, Print on cotton paper, Variable dimensions.
- Pier Stockholm, “Pantone”, 2012, Series: Blue series, C-Print on aluminum , 29.7 x 42 x 0,25 cm.
- Pier Stockholm, “Do & Hope”, 2015, multimedia installation, Variable dimensions. Site-specific project. Location: Gleichapel project space, Paris, France.
- Pier Stockholm, “Do & Hope”, 2015, Detail:Blue paint on wall, neon lights, polystyrene, push pins and elastics, Variable dimensions. Site-specific project. Location: Gleichapel project space, Paris, France.
- Pier Stockholm, “Do & Hope”, 2015, Detail: Flowers, foam, rope, blue paint, cutting mat, neon light and foam cutter, Variable dimensions. Site-specific project. Location: Gleichapel project space, Paris, France.
- Pier Stockholm, “The Weight of References”, 2015, Rope and printed matter, Variable dimensions.
- Pier Stockholm, “Time &Tide (Flows wide)”, 2014, India ink on transparent paper, Variable dimensions.
- Pier Stockholm, “All lines and movements are the function”, 2013, India ink on transparent paper, 42 x 29.7 cm.
- Pier Stockholm, “Caran D’ache”, 2012, C-Print on aluminum and colors, Variable dimensions.
- Pier Stockholm, “Pantone Connection”, 2012, Print on cotton paper, 25 x 20 cm.
I incorporate the material function of my studio as a means of illustrating my artistic practice.
Traducido del inglés
Incorporo la función material de mi estudio como medio de ilustrar mi práctica artística.
Selected Biographical Information
Education / Training
- 2006-2008: Programe La Seine – Postgraduate program, Ecole Nationale Supérieure Des Beaux Arts Paris-ENSBA, Paris, France.
- 2002-2005: Master in Fine Arts, Universidade de São Paulo. ECA- Escola de Comunicações e artes-USP, São Paulo, Brazil.
- 1995-2001: Bachelor’s Degree in Architecture and Urbanism, Universidad Ricardo Palma, Lima, Peru.
Prizes / Fellowships
- 2011: artistic residence, SOART, Millstättersee, Austria.
- 2010: artistic residence, Malongen Nordic Guest Studio, Stockholm, Sweden.
- 2008: artistic residence, Microresidencia Parasit(i)o in collaboration with MeetFactory, Prague, Czech Republic.
- 2008: artistic residence, NID- National Institute of Design – in collaboration program La Seine , Ahmedabad, India.
- 2007: artistic residence, Mongin art studios-collaboration program Las Seine, Seoul, South Korea.
- 2006-2007: artistic residence, Cité Internationale des Arts, Paris, France.
Solo Exhibitions
- 2015: “Do & Hope”, Gleichapel, Paris, France.
- 2014: “Elephant Island”, Galería Lucía de la Puente, Lima, Peru.
- 2013: “Time & Tide (Flow wide)”, Galeria Casado Santapau, Madrid, Spain.
- 2013: “Head On”, Lisabird Contemporary, Vienna, Austria.
- 2012: “Prismatic”, Casa Triangulo, São Paulo, Brazil.
- 2011: “USURPATION: Le Folklore”, Galería Lucía de la Puente, Lima, Peru.
- 2011: “INRI”, Casa Triangulo, São Paulo, Brazil.
- 2009: “God (and Le Corbusier) promises a safe landing (but not a calm voyage)”, Casado Santapau, Madrid, Spain.
- 2006: “Manimal”, De Vleeshal, Middleburg, Holland.
- 2005: “SantaCruz”, Casa Triangulo, São Paulo, Brazil.
- 2003: “Burocracia”, Paço Das Artes, São Paulo, Brazil.
Group Exhibitions
- 2015: “Idées Multiples”, Galerie Des Galeries, Paris, France.
- 2015: “A false Horizon“, Peana Projects, New York, USA.
- 2015: “Polivalencias “, Curated by Jorge Villacorta. Galería Lucía de la Puente, Lima, Peru.
- 2014: “Light/Color/Object”, Super Dakota, Brussels, Belgium.
- 2014: “Casa Triangulo No Pivò“, Casa Triangulo- Pivò, edificio Copan, São Paulo, Brazil.
- 2014: “UNTITLED miami Art Fair “, Rincón Projects, Miami, USA.
- 2011: “Choix de Paris”, Cité International des Arts curated by Elsy Lahner, Paris, France.
- 2010: “Everydays(s)“, Casino Luxembourg-Forum d’art contemporain, Luxembourg, Luxembourg.
- 2010: “Now or Never”, Rincón Projects, New York, USA.
- 2008: “El Papel del artista”, Doméstico 08. Curated by Teodora Diamantopoulos, Joaquín García, Giulietta Speranza, Andrés Mengs y Virginia Torrente, Madrid, Spain.
- 2005: “AU-DELA DU COPAN: Beyond the Copan, Supernatural Urbanism“, Fondation d’Enterprise Ricard, Paris, France.
- 2004: “Artista-Personagem -curated by Daniela Labra”, Centro cultural Maria Antonia, São Paulo, Brazil.
Publications
- Pier Stockholm, The Weight of References (Paris: onestar press), 150.
Collections
- Albertina Museum, Vienna, Austria.
- SBKM / De Vleeshal at MuHKA, Antwerp, Belgium.
Links
August 19, 2015 Mario Navarro https://abstractioninaction.com/artists/mario-navarro/- Mario Navarro, “Isodomum”, 2014, Bricks, mirrors, Variable dimensions. Photo credit: Lake Verea.
- Mario Navarro, “The Original Accident”, 2013, Series: The Original Accident, Metallic holders, two way mirrors, Variable dimensions. ArtNexus, Colección Diéresis, Fundación Jumex Arte Contemporáneo, Sayago & Pardon.
- Mario Navarro, “Estética de la desaparición”, 2012, Wood, mirrors, adhesive vinyl, 330 x 140 x 280 cm. Colección Diéresis. Photo credit: Hugo Martínez.
- Mario Navarro, “Untitled (Hexagonos)”, 2013, Concrete, mirror, 60 x 68 x 200 cm. Photo credit: Hugo Martínez.
- Mario Navarro, “Delimitador”, 2012, Wood, 130 x 150 x 190 cm.
- Mario Navarro, “Expansor”, 2012, Wood, 130 x 190 x 150 cm.
- Mario Navarro, “Autotransformacion”, 2011, Concrete, 105 x 75 x 15 cm.
- Mario Navarro, “Facade No. 1”, 2012, Wood, metallic grid, 101 x 96 cm.
- Mario Navarro, “Untitled (Movil 5)”, 2014, Concrete, metal rod, 65 x 97 x 12 cm.
- Mario Navarro, “Greetings from Chandigarh”, 2012, Piezography print on cotton paper, 100 x 100 cm.
- Mario Navarro, “Converging point”, 2015, Sanding mesh collage, 70 x 60 cm.
- Mario Navarro, “Greetings from Marseille”, 2014, Piezography print on cotton paper, 100 x 100 cm.
- Mario Navarro, “Vanishing Point”, 2012, Screen pint on paper, 100 x 100 cm.
- Mario Navarro, “The Farnsworth Flood”, 2012, Pencil on paper, 100 x 150 cm. Frances R. Dittmer Collection.
- Mario Navarro, “The Satelite Towers Destruction”, 2014, Pencil on paper, 100 x 150 cm. The Petitgas Collection.
The formal aesthetics and syntax of my work stand as an alternative reference to certain classes of objects, just as words do not « refer » to things themselves in Saussure’s theory of linguistics. Objects and architectures have meanings as points and conceptual significations within an entire system of relations as each and every element evokes an idea different, let’s say, than that of another class of objects in virtue of their literal properties. I believe in creating a meta-class of language that questions both architecture and the way we look at it but in different terms. Architecture is re-contextualized.
Issues of perception, the combination of language and spatial elements, the sculptural properties of language, matter/materials and their representations are lines of research that I have been investigating lately. The relations between architectures and forms, and more specifically, the decomposition of architectural paradigms (balance, symmetry, organization of units and the figure of the architect) are some of the constant interests and explorations in the ongoing and never finalized propositions that I create.
Traducido del inglés
La estética formal y sintaxis de mi trabajo se destacan como una referencia alternativa a ciertas clases de objetos, de la misma forma que las palabras no se « refieren » a las cosas mismas, como en la teoría lingüística de Saussure. Los objetos y las arquitecturas tienen significados como puntos, y significaciones conceptuales dentro de todo un sistema de relaciones, así como cada elemento evoca una idea diferente, digamos, que la de otra clase de objetos en virtud de sus propiedades literales. Creo en la creación de un meta-lenguaje que cuestione tanto la arquitectura como el modo en que lo observamos, pero en diferentes términos. La arquitectura es re-contextualizada.
Las cuestiones de la percepción, la combinación del lenguaje y elementos espaciales, las propiedades escultóricas del lenguaje, materia / materiales y sus representaciones, son las líneas de investigación que he estado realizando últimamente. Las relaciones entre las arquitecturas y las formas, y más específicamente, la descomposición de los paradigmas arquitectónicos (el equilibrio, la simetría, la organización de unidades y la figura del arquitecto) son algunos de los intereses constantes y de las exploraciones de las proposiciones siempre inconclusas y en desarrollo.
Selected Biographical Information
Education / Training
- 2003-2008: Bachelor in Architecture, Instituto Tecnológico de Estudios Superiores de Occidente (ITESO), Guadalajara, Mexico.
Solo Exhibitions
- 2015: “Aesthetical Irregularities”, Proyecto Paralelo, Mexico City, Mexico.
- 2012: “Estética de la desaparición”, Zona MACO México Arte Contemporáneo, Mexico City, Mexico.
Group Exhibitions
- 2015: “Map of the New Art: The Future is Unwritten“, Fondazione Giorgi Cini, Venice, Italy.
- 2015: “A False Horizon: Art from Latin America“, Gallery 151, New York, USA.
- 2014: “Verano/Summer“, Proyecto Paralelo, Mexico City, Mexico.
- 2014: “Leviatan”, Museo de Arte Raul Anguiano, Guadalajara, Mexico.
- 2014: “Salón ACME”, Mexico City, Mexico.
- 2014: “Salon ACME In Situ”, Mexico City, Mexico.
- 2013: “Sin necesidad de profecías”, Galería Diéresis, Guadalajara, Mexico.
- 2013: “Salon ACME”, Mexico City, Mexico.
- 2013: “Paradise is an Island so is Hell”, La Brignonesca, Careyes, Mexico.
- 2012: “Whatever Works”, Laboratorio de Arte Jorge Martínez, Guadalajara, Mexico.
- 2011: “Don y Látigo”, Sala Juárez, Guadalajara, Mexico.
- 2011: “No puedo prometer nada”, Laboratorio de Arte Jorge Martínez, Guadalajara, Mexico.
Publications
- Imago Mundi – Luciano Benneton Collection, Mexico: The Future is Unwritten (Venice: Fabrica).
Collections
- ArtNexus, Bogota, Colombia.
- Colección Diéresis, Guadalajara, Mexico.
- Frances R. Dittmer Collection, Chicago, USA.
- Fundación Jumex Arte Contemporáneo, Mexico City, Mexico.
- Sayago & Pardon, California, USA.
- The Petitgas Collection, London, United Kingdom.
August 18, 2015 Ximena Garrido-Lecca https://abstractioninaction.com/artists/ximena-garrido-lecca/
- Ximena Garrido-Lecca, “Destilaciones”, 2014, Ceramics, copper tubes, iron base, MDF, clay, 170 x 310 x 200 cm.
- Ximena Garrido-Lecca, “La Trama”, 2013, Knitted copper, 0 x 360 x 250 cm.
- Ximena Garrido-Lecca, “La Trama” (detail), 2013, Knitted copper, 0 x 360 x 250 cm.
- Ximena Garrido-Lecca, “Lineas de Fuga”, 2014, Copper tubes and reed, 200 x 1600 x 300 cm.
- Ximena Garrido-Lecca, “Lineas de Fuga (detail)”, 2014, Copper tubes and reed, 200 x 1600 x 300 cm.
- Ximena Garrido-Lecca, “Proyecto País”, 2012, Series: Paredes de Progreso, Mud, straw, polymer, polystyrene, emulsion, wood, 210 x 580 x 140 cm.
- Ximena Garrido-Lecca, “Geometría social”, 2011, Concrete blocks, adobe bricks, bamboo panels, 120 x 165 x 193 cm.
- Ximena Garrido-Lecca, “Resistant Shapes: Cylindrical Planes”, 2012, Oil drums, oil paint, wood, wire, nails, 205 x 390 x 69 cm.
- Ximena Garrido-Lecca, “Aleaciones: FM”, 2014, Electric wire, reed, speaker, radio, 270 x 220 x 30 cm.
- Ximena Garrido-Lecca, “Composition I”, 2011, Raffia sacks, string, 400 x 300 cm.
- Ximena Garrido-Lecca, “The Followers”, 2010, Mixed media, 457 x 1169 x 28 cm.
- Ximena Garrido-Lecca, “Aleaciones: FM (detail)”, 2014, Electric wire, reed, speaker, radio, 270 x 220 x 30 cm.
- Ximena Garrido-Lecca, “Aleaciones con memoria de forma IV”, 2014, Copper tubes and reed, 2 x 200 x 400 cm.
Selected Biographical Information
Education / Training
- 2003-2004: MA Fine Arts, Byam Shaw School of Art, Central Saint Martins, London, UK.
- 2001-2002: Post-Graduate Course Fine Arts, Byam Shaw School of Art, Central Saint Martins, London, UK.
- 1997-2001: BA Fine Arts, Universidad Católica del Perú, Lima, Peru.
Prizes / Fellowships
- 2014: Shortlisted for the Future Generation Art Prize, Pinchuk Art Centre, Kiev, Ukraine.
- 2014: Honorific Mention Bienal de Cuenca, Bienal de Cuenca, Cuenca, Ecuador.
Solo Exhibitions
- 2015: “Arquitectura del humo”, 80m2 Livia Benavides, Lima, Peru.
- 2014: “Los Suelos”, MATE, Lima, Peru.
- 2013: “Los Suelos”, Galeria Casado Santapau, Madrid, Spain.
- 2012: “VAMOS”, MIMA, Middlesbrough, UK.
- 2012: “Paisaje Antrópico”, Max Wigram Gallery, London, UK.
- 2011: “El Porvenir”, Mimmo Scognamiglio Arte Contemporanea, Milan, Italy.
- 2010: “The Followers”, Civic Room, London, UK.
Group Exhibitions
- 2014: “Future Generation Art Prize”, Pinchuk Art Centre, Kiev, Ukraine.
- 2014: “Bienal de la Imagen en Movimiento”, BIM, Buenos Aires, Argentina.
- 2014: “Bienal de Cartagena de Indias“, Cartagena de Indias, Colombia.
- 2014: “The 2nd CAFAM Biennale”, The Central Academy of Fine Arts Museum – CAFAM, Beijing, China.
- 2014: “Ir para Volver”, Bienal de Cuenca, Cuenca, Ecuador.
- 2013: “ICASTICA “, International Biennale of Arrezzo, Arezzo, Italy.
- 2013: “Paraíso en Blanco”, 80m2 Livia Benavides, Lima, Peru.
- 2013: “LARA (Latin American Roaming Art)”, NC ARTE, Bogota, Colombia.
- 2012: “Remesas: flujos simbólicos/ movilidades de capital”, Fundación Telefónica, Lima, Peru.
- 2011: “Newspeak: British Art Now”, The Gallery of South Australia, Adelaide, Australia.
- 2010: “Identity Theft”, Mimmo Scognamiglio Arte Contemporanea, Milan, Italy.
- 2010: “Newspeak: British Art Now”, Saatchi Gallery, London, UK.
Collections
- MALI Museo de Arte de Lima, Lima, Peru.
- PAAM Perez Art Museum, Miami, USA.
- MIMA Middlesbrough Institute of Modern Art, Middlesbrough, UK.
- Kadist Foundation, San Francisco , USA.
- MATE Museo Mario Testino, Lima, Peru.
- Silvina Arismendi, “Measuring in Spears”, 2014, Series: Measuring in Spears, Wood, Plywood, PVC lacing, erasers, bracelets, Variable dimensions. Photo credit: Steve White, Berloni Gallery.
- Silvina Arismendi, “Measuring in Spears”, 2014, Series: Measuring in Spears, Wood, Plywood, PVC lacing, erasers, bracelets, Variable dimensions. Photo credit: Steve White, Berloni Gallery.
- Silvina Arismendi, “Measuring in Spears”, 2014, Series: Measuring in Spears, Wood, Plywood, PVC lacing, erasers, bracelets, Variable dimensions. Photo credit: Steve White, Berloni Gallery.
- Silvina Arismendi, “Night Jewels”, 2014, Series: Measuring in Spears, Wood, Plywood, PVC lacing, erasers, bracelets, Variable dimensions. Photo credit: Steve White, Berloni Gallery.
- Silvina Arismendi, “Night Jewels” (detail), 2014, Series: Measuring in Spears, Wood, Plywood, PVC lacing, erasers, bracelets, Variable dimensions. Photo credit: Steve White, Berloni Gallery.
- Silvina Arismendi, “Night Jewels” (detail), 2014, Series: Measuring in Spears, Wood, Plywood, PVC lacing, erasers, bracelets, Variable dimensions. Photo credit: Steve White, Berloni Gallery.
- Silvina Arismendi, “Rak on Tur”, 2014, Wood, plywood, glass, mirror, steel, PVC lacing, erasers, bracelets, plant, bouncing balls, Variable dimensions.
- Silvina Arismendi, “Rak on Tur”, 2014, Wood, plywood, glass, mirror, steel, PVC lacing, erasers, bracelets, plant, bouncing balls, Variable dimensions.
- Silvina Arismendi, “Sunflower Symphony (detail)”, 2014, Wood, Plywood, PVC lacing, steel, Variable dimensions. Site-specific project. Location: Rincón Projects, Untitled Art Fair, Miami, United States. Photo credit: Courtesy of the artist.
- Silvina Arismendi, “Entrancing”, 2014, Rubber bands, nails, Variable dimensions. Site-specific project. Location: Berloni Gallery, London, England. Photo credit: Steve White, Berloni Gallery.
- Silvina Arismendi, “Entrancing” (detail), 2014, Rubber bands, nails, Variable dimensions. Site-specific project. Location: Berloni Gallery, London, England. Photo credit: Steve White, Berloni Gallery.
- Silvina Arismendi, “Uno”, 2010-2013, Series: Uno, Rubber bands, canvas, plywood, Variable dimensions. Collection of Estee Lauder Companies Inc. Photo credit: Courtesy of the artist.
- Silvina Arismendi, “Untitled” (detail), 2013, Series: Uno, Rubber bands, canvas, plywood, Variable dimensions. Photo credit: Courtesy of the artist.
- Silvina Arismendi, “Untitled” (detail), 2012, Ink on canvas, Variable dimensions. Photo credit: Courtesy of the artist.
- Silvina Arismendi, “Untitled” (detail), 2012, Ink on canvas, Variable dimensions. Photo credit: Courtesy of the artist.
My latest body of work is the result of an unrelenting research of materials and supplies. In an almost casual and brief gesture, I transform myriad of objects, gathered from everyday life, and compile them into different arrangements and situations. I attempt to give order by measuring my time, my work and my possibilities with certain materials and objects – obsessive repetition allows me to develop unique and personal systems. The work reveals in itself the process of its making, its failure or triumph.
I face every work with curiosity and try to understand how I can intervene the least to achieve the most. I look for an inner logic to my process that might lead the viewer to apparent conclusions.
I like to think of my work as an organized world that welcomes chaos and embraces the power of simplicity.
En los últimos ańos mi trabajo se enfoca en una continua investigación de materiales. En un gesto casi casual, transformo una infinidad de objetos, recolectados de la vida cotidiana y los compilo en diferentes arreglos y situaciones. Intento crear orden por medio de sistemas que me permiten medir mi tiempo, mi trabajo y mis posibilidades con ciertos materiales y objetos. La repetición obsesiva me permite crear sistemas únicos y personales. El trabajo revela en sí mismo el proceso de su elaboración , su fracaso o triunfo.
Me enfrento a cada trabajo con curiosidad y trato de entender cómo puedo hacer mínimas alteraciones para obtener máximos resultados, como puedo crear una lógica interna que pueda conducir al espectador a aparentes conclusiones.
Me gusta pensar en mi trabajo como un mundo organizado que acoge el caos y celebra el poder de la simplicidad.
Selected Biographical Information
Education / Training
- 2001-2007: MFA, Academy of Fine Arts, Prague, Czech Republic.
Prizes / Fellowships
- 2015-2016: Keyholder Residency Program, Lower East Side Printshop, New York, United States.
- 2000-2007: Scholarships – Master’s Study Program, Embassy of the Czech Republic, Czech Ministry of Foreign Affairs, Montevideo, Uruguay.
- 2008: Chateau, Centre for Contemporary Art FUTURA, Czech Republic.
- 2004: Informal Architecture Workshop/Marjetica Potrc, Salzburg International Summer Academy, Hallein, Austria.
Solo Exhibitions
- 2014: “Measuring in Spears“, Berloni Gallery, London, England.
- 2014: “Rak on Tur”, Brno House Of Arts, G99, Brno, Czech Republic.
- 2013: “Uno“, Subte-Centro Municipal de Exposiciones, Montevideo, Uruguay.
- 2011: “Tres/Three/Tri”, Galerie Ferdinanda Baumanna, Prague, Czech Republic.
- 2010: “Things named after numbers”, Ps122, New York, USA.
- 2010: “Dos”, Espacio de Arte Contemporáneo, Montevideo, Uruguay.
- 2008: “Part-time artist”, AM180, Prague, Czech Republic.
- 2006: “Some girls wander by mistake”, Galerie Mladych, Brno, Czech Republic.
- 2004: “Thanks for coming”, Galerie im Alcatraz, Hallein, Austria.
- 2004: “Jelenovi pivo nelej (Czech palindrome)”, Foundation for Contemporary Art, Gallery Jeleni, Prague, Czech Republic.
- 2003: “The things made by people”, Foundation for Contemporary Art, Gallery Jeleni, Prague, Czech Republic.
Group Exhibitions
- 2014: “Tunnel and Lighthouses“, Wallspace Gallery, New York , USA.
- 2014: “Hin Mah Too Yah Lat Kekt”, Gallery AMU, Prague, Czech Republic.
- 2013: “5X5 Castelló 2013, Premi Internacional d’art Contemporani, Espai d’art Contemporani“, Espai d’art Contemporani, Castelló, Spain.
- 2013: “Global Locals”, Gallery NTK, Prague, Czech Republic.
- 2012: “Vistas”, University of Maryland, Maryland, USA.
- 2011: “Prague Biennale 5”, Prague Biennale 5, Prague, Czech Republic.
- 2010: Circulo de Bellas Artes, Santa Cruz de Tenerife, Spain.
- 2009: “Melting the Pot”, Czech Cultural Center, New York , USA.
- 2009: “Pocket Utopia, Two-week residency program “, Pocket Utopia, Brooklyn, USA.
- 2008: “Move on”, Futura Centre for Contemporary Art, Prague, Czech Republic.
- 2008: “When I was a little boy, I used to play with girls”, Galerie U Bílého jednorožce, Klatovy, Czech Republic.
- 2008: “Contemporary Czech Cubism”, Old town City Hall Gallery, Prague, Czech Republic.
Publications
- Silvina Arismendi, Planked Boutique (Paris: Onestar Press).
- Berloni Gallery, Measuring in Spears (Berloni).
- Jiri Ptacek, “For The Perfect Stranger: Home Inside Out“, Fotograf Magazine, 2012.
- “The Things Made by People”, Fotograf Magazine, 2008.
- Karel Cisar, “Silvina Arismendi”, Labyrint Magazine, 2008.
- Jiri Ptacek, “Silvina Arismendi”, Umelec Magazine, 2004/2.
Collections
- Collection of Estee Lauder Companies Inc., New York, USA.
- ivelisse jimenez, “description without place.2”, 2006, Series: description without place, Painting on canvas, collage of plastic and plexiglass partially covered by a screen of mylar. What is behind can be seen from the sides. The frontal view offers a blurred perspective. , Variable dimensions.
- ivelisse jimenez, “Ten con Ten 21”, 2003, Series: Ten con Ten, painting on canvas, collage of plastic and plexiglass partially covered by a screen of mylar. What is behind can be seen from the sides. The frontal view offers a blurred perspective. Variable dimensions.
- ivelisse jimenez, “goes without saying”, 2014, modules of painting on canvas, collage of plastic and plexiglass partially covered by screens of mylar. What is behind can be seen from the sides. The frontal view offers a blurred perspective, Variable dimensions.
Selected Biographical Information
Education / Training
- 1997-1999: Master of Fine Arts, New York University, New York, USA.
Prizes / Fellowships
- 2012: Arte Laguna first prize in painting, Arte Laguna , Venice, Italy.
- 2009: Joan Mitchell Award for painters and scul, Joan Mitchell, New York, US.
Links
January 28, 2015 Rossana Martinez https://abstractioninaction.com/artists/rossana-martinez-2/- Rossana Martinez, “Tide “, 2014, Rehearsal; Concept: Rossana Martinez Performers: Bibi Calderaro, Julian Jackson, Rossana Martinez Costumes: Black pants and shirts, iridescent copper fabric, bells Documentation: Matthew Deleget, Variable dimensions. Photo credit: Melissa Staiger.
- Rossana Martinez, “Tide”, 2014, Video Still; Concept: Rossana Martinez Performers: Bibi Calderaro, Julian Jackson, Rossana Martinez Costumes: Black pants and shirts, iridescent copper fabric, bells Documentation: Matthew Deleget, Variable dimensions. Artist. Photo credit: Matthew Deleget.
- Rossana Martinez, “Body Geometry (Take Me To That Other Place)”, 2014, Series: Body Geometry, One-person performance with mountain; Concept: Rossana Martinez; Performer: Rossana Martinez; Costume: Black dress, Variable dimensions. Artist. Photo credit: Matthew Deleget.
- Rossana Martinez, “Body Geometry (Triangles)”, 2014, Series: Body Geometry, Two-person performance; Concept: Rossana Martinez; Performers: Bibi Calderaro and Rossana Martinez Costume: Yellow and green skirts; Documentation: Matthew Deleget, Variable dimensions. Artist. Photo credit: Matthew Deleget.
- Rossana Martinez, “Body Geometry (Triangles)”, 2013, Series: Body Geometry, Sketch; Two-person performance; Concept: Rossana Martinez; Performers: Bibi Calderaro and Rossana Martinez; Costume: Yellow and green skirts; Documentation: Matthew Deleget, Variable dimensions. Photo credit: Courtesy of the artist.
- Rossana Martinez, “Body Geometry”, 2011, Series: Body Geometry, One-person performance; Concept and Performer: Rossana Martinez; Costume: Blue and hot pink fabric, orange clothing; Documentation: Matthew Deleget, Variable dimensions. Photo credit: Matthew Deleget.
- Rossana Martinez, “See the World in Orange and Blue”, 2011, One-person performance; Concept and Performer: Rossana Martinez; Orange and blue paint, hands, sketchbook; Documentation: Matthew Deleget, Variable dimensions. Photo credit: Matthew Deleget.
- Rossana Martinez, “Where Soul Meets Body”, 2007, One-person performance and site-specific installation at LMCC; Concept and Performer: Rossana Martinez; Costume: Orange clothing and paint, golden shoes; Documentation: Matthew Deleget, Variable dimensions. Site-specific project. Location: Lower Manhattan Cultural Council, New York, NY, USA. Artist. Photo credit: Matthew Deleget.
- Rossana Martinez, “Glow”, 2006, One-person performance and site-specific installation at Hunter College/Times Square Galleries, NY; Concept and Performer: Rossana Martinez; Costume: Black dress and shoes, fluorescent orange spray paint; Documentation: Matthew Deleget, Variable dimensions. Site-specific project. Location: Hunter College/Times Square Galleries, New York, NY, USA. Artist. Photo credit: Matthew Deleget.
- Rossana Martinez, “Glow”, 2006, Detail; One-person performance and site-specific installation at Hunter College/Times Square Galleries, NY; Concept and Performer: Rossana Martinez; Costume: Black dress and shoes, fluorescent orange spray paint; Documentation: Matthew Deleget, Variable dimensions. Site-specific project. Location: Hunter College/Times Square Galleries, New York, NY, USA. Artist. Photo credit: Matthew Deleget.
- Rossana Martinez, “Heart on Fire”, 2006, Two-person performance; Concept and Performers: Rossana Martinez & Matthew Deleget; Costumes: Red and orange clothing, running shoes; Documentation: Unknown viewer, Variable dimensions. Site-specific project. Location: Parc de Bruxelles Warande, Brussels, Belgium. Photo credit: Unknown viewer.
- Rossana Martinez, “Crash into Me”, 2007-2010, Site-specific installation at Pratt Manhattan Gallery; Fluorescent orange and hot pink ribbons, Variable dimensions. Site-specific project. Location: Pratt Manhattan Gallery, New York, NY, USA. Museo de Arte de Caguas (MUAC), Caguas, Puerto Rico. Photo credit: Courtesy of the artist.
- Rossana Martinez, “Crash into Me”, 2007-2010, Detail; Site-specific installation at Pratt Manhattan Gallery; Fluorescent orange and hot pink ribbons, Variable dimensions. Site-specific project. Location: Pratt Manhattan Gallery, New York, NY, USA. Museo de Arte de Caguas (MUAC), Caguas, Puerto Rico. Photo credit: Courtesy of the artist.
- Rossana Martinez, “Sweet Like Candy to My Soul”, 2007, Performance and installation at Pratt Manhattan Gallery; Two turquoise folding chairs, Felix Gonzalez-Torres book, Variable dimensions. Photo credit: Courtesy of the artist.
- Rossana Martinez, “Sweet Like Candy to My Soul”, 2007, Detail; Performance and installation; Two turquoise folding chairs, Felix Gonzalez-Torres book, Variable dimensions. Photo credit: Courtesy of the artist.
I am interested in creating an experience, and a dialogue between the body and common materials. The process and result are raw and unedited. I investigate subtleties of balance and movement, breath and anatomy—based on the connection between a running and yoga practice, and my interest in dance, conceptual abstraction and performance art. My intention is to allow viewers to interpret and question the work according to their expectations about what art is and how it should appear.
Traducido del inglés
Me interesa crear una experiencia, un diálogo entre el cuerpo y los materiales comunes. El proceso y resultado es crudo e íntegro. Investigo las sutilezas del balance y del movimiento, de la respiración y la anatomía, basadas en las conexiones entre la práctica de yoga y correr, así como mi interés en la danza, la abstracción conceptual y el performance. Mi intención es el permitir a los espectadores interpretar y cuestionar la obra de acuerdo a sus expectativas de lo que el arte es y cómo debe verse.
Selected Biographical Information
Education / Training
- 1993-1996: Master of Fine Arts in Sculpture and Printmaking, Pratt Institute, Brooklyn, NY, USA.
- 1987-1991: Bachelor of Arts in Liberal Arts, University of Puerto Rico, Rio Piedras, Puerto Rico.
Prizes / Fellowships
- 2008: Mujeres Destacadas Award, El Diario La Prensa, New York, NY, USA.
- 2008: Nominated for a Rema Hort Mann Foundation Award, Rema Hort Mann Foundation, New York, NY, USA.
- 2006-2007: Workspace Residency, Lower Manhattan Cultural Council, New York, NY, USA.
- 2005: Community Arts Regrant Program, Brooklyn Arts Council, Brooklyn, NY, USA.
- 2004: Community Arts Regrant Program, Brooklyn Arts Council, Brooklyn, NY, USA.
- 2003: Artist in the Marketplace Program (AIM), The Bronx Museum of the Arts, Bronx, NY, USA.
Solo Exhibitions
- 2010: “Present”, The Engine Room, Massey University, Wellington, New Zealand.
- 2009: “Present”, Project Space Spare Room, RMIT University, Melbourne, Australia.
- 2008: “Sequence”, Gallery Sonja Roesch, Houston, TX, USA.
- 2007: “Present”, SNO, Sydney, Australia.
- 2006: “Heart on Fire”, H29, Brussels, Belgium.
- 2006: “Mind Games”, PS, Amsterdam, The Netherlands.
- 2006: “Greetings from Brooklyn”, Hebel_121, Basel, Switzerland.
- 2004: “Home”, David Allen Art & Design Gallery, Brooklyn, NY, USA.
- 2000: “Recent Works”, Wabash College, Crawfordsville, IN, USA.
Group Exhibitions
- 2014: “Making Space”, Gibney Dance, New York, NY, USA.
- 2014: “Triangles”, Ventana 244, Brooklyn, NY, USA.
- 2013: “Material Histories”, Key Projects, Long Island City, NY, USA.
- 2012: “Voces y Visiones: Gran Caribe”, El Museo de Barrio, New York, NY, USA.
- 2011: “Telefone Sem Fio”, EFA Project Space, New York, NY, USA.
- 2011: “The Weight of Jupiter”, Enjoy Public Art Gallery, Wellington, New Zealand.
- 2011: “Fluid”, Center of the Arts Gallery, Towson University, Towson, MD, USA.
- 2011: “Fluid”, Delaware Center for the Contemporary Arts, Wilmington, DE, USA.
- 2010: “Constructed Painting”, Kudos Gallery, Sydney, Australia.
- 2010: “No fue un mal entendido”, Museo de Arte de Caguas (MUAC), Caguas, Puerto Rico.
- 2010: “Informal Relations”, Indianapolis Museum of Contemporary Art, Indianapolis, IN, USA.
- 2010: “M5”, Philip Feldman Gallery, Pacific Northwest College of Art, Portland, OR, USA.
- 2009: “Partners in Love & Art”, Brooklyn Public Library, Brooklyn, NY, USA.
- 2009: “Accrochage”, Gallery Sonja Roesch, Houston, TX, USA.
- 2008: “MINUS SPACE”, MoMA PS1, Long Island City, NY, USA.
- 2007: “All is well that begins well and has no end”, 80WSE Galleries, New York University, New York, NY, USA.
- 2007: “Four Artists: Work by Recent Pratt Alumni”, Pratt Manhattan Gallery, Pratt Institute, New York, NY, USA.
- 2006: “PP III”, Hunter College/Times Square Gallery, New York, NY, USA.
- 2005: “Ideal”, Metaphor Contemporary Art, Brooklyn, NY, USA.
- 2004: “All the Numbers I Know”, The Rotunda Gallery, Brooklyn, NY, USA.
Publications
- Jackie Battenfield, The Artist’s Guide: How to Make a Living Doing What You Love (New York: Da Capo Press).
- Robert Adam and Carol Robertson, Intaglio, The Complete Safety-First System for Creative Printmaking (New York: Thames & Hudson).
- Josep Felip, “Rossana Martínez, una boricua entregada al arte”, MSN Latino, September 2010.
- Jeff Jahn, “Art & Concept interview with Jeff Jahn“, ArC: Art & Concept, August 19, 2010.
- Erin Loechner, “Rossana Martinez“, Design for Mankind, March 1, 2010.
- Phong Bui, “MINUS SPACE: The Art of Reduction”, MoMA PS1 Newspaper, Fall/Winter 2008.
- Grace Glueck, ” Presentational Painting III”, The New York Times, April 7, 2006.
- Stephen Maine, “Painting Presentation”, Artnet Magazine, April 7, 2006.
- Triangles, Ventana244, Brooklyn, NY, 2014; Essays by Melissa Staiger, Nadema Agard, Craig Olson and Stephen Westfall.
All is well that begins well and has no end, 80WSE Galleries, New York University, New York, NY, 2007. - Presentational Painting III. Hunter College/Times Square Gallery, New York, NY, 2006; Essays by Gabriele Evertz, Abbey Ryan and John Cox.
- Artist in the Marketplace (AIM), The Bronx Museum of the Arts, Bronx, NY, 2003; Essays by Amy Rosenblum-Martin and Lydia Yee.
- XIII Bienal de San Juan del Grabado Latinoamericano y del Caribe. Instituto de Cultura Puertorriqueña, San Juan, PR, 2001.
- The S-Files/Selected from the Files, El Museo del Barrio, NY, 2000; Essays by Deborah Cullen and Yasmin Ramírez.
Collections
- El Museo del Barrio, New York, NY, USA.
- Museo de Arte de Caguas (MUAC), Caguas, Puerto Rico.
- UBS , San Juan, Puerto Rico.
- Wabash College Collection of Contemporary Art, Crawfordsville, IN, USA.
Links
January 27, 2015 José Olano https://abstractioninaction.com/artists/jose-olano/- José Olano, “Muebles atrancados entre el techo y el piso.”, 2010 – 2013, Chairs, tables and wood stick. (Sculpture in balance), Variable dimensions. Site-specific project. Location: 43 Salón Nacional de artistas, Medellín, Colombia.
- José Olano, “Frutera mi hermano y yo”, 2013, Table, bench, plant, wood stick and photo, Variable dimensions. Site-specific project. Location: 43 Salón Nacional de artistas, Medellín, Colombia.
- José Olano, “2 Almohadas atracadas en vertical”, 2014, Pillow and wood stick, Variable dimensions. Site-specific project. Location: Galería Nueveochenta, Bogotá, Colombia.
- José Olano, “4 Colchones atrancados en horizontal”, 2014, Mattresses, covers and table., Variable dimensions. Site-specific project. Location: Galería Nueveochenta, Bogotá, Colombia.
- José Olano, “Escoba y trapero”, 2014, Broom and mop with glass tube, 115 x 70 x 30 cm.
- José Olano, “Sin titulo. “, 2014, Tempered glass and vinyl, 200 x 260 x 80 cm.
- José Olano, “Una rama atrancada entre 2 marcos”, 2010 – 2013, Frames with glass and branch, Variable dimensions.
- José Olano, “Sandia entre guacales”, 2013, Crates from the Banco de la República and watermelon, Variable dimensions. Site-specific project. Location: Museo del banco de la Republica, Bogotá, Colombia.
- José Olano, “Splash”, 2013, Blown glass and vinyl, Variable dimensions.
- José Olano, “Enredadera clavada a la pared.”, 2010 – 2013, Creeper nailed to the wall by its branches, Variable dimensions.
- José Olano, “Sobre la mesa / En el aire”, 2010, Inkjet on paper, 27 x 21 cm.
- José Olano, “Palenquera con acuario.”, 2013, Video, (6min loop), Variable dimensions.
Translated from Spanish
I am mainly a sculptor and my subject of study is balance and its relationship with fragility and chance. I work with everyday materials with which we interact on a daily basis; found or regular objects such as furniture, clothing, fruit, and glasses. The space that surrounds me is potentially artistic material. One can create a discourse, through the documentation or by rearranging the elements in the space at any moment. I use the materials without altering them, and I make the most out of their physical properties to create unstable structures that can evolve in time in space. Even if at the end the materials can be interchangeable, what becomes evident is the intention and the position of these elements. I am interested in the intersections between art and the everyday, to take the viewer out of his/her comfort zone, and to question the limits of what we consider “normal.”
Soy principalmente escultor y mi tema de exploración es el equilibrio y su relación con la fragilidad y el azar. Trabajo con materiales comunes con los que interactuamos cotidianamente, objetos encontrados o estándares, como muebles, ropa, frutas y vasos. El espacio que me rodea es potencialmente materia plástica, en cualquier momento, por medio del registro o re-acomodando los elementos en el espacio se puede crear un discurso. Uso los materiales sin intervenirlos y aprovecho sus propiedades físicas para crear estructuras inestables que pueden evolucionar en el espacio tiempo. Aunque al final los materiales son intercambiables, lo que salta a la vista es la intención y la posición de estos elementos. Me interesan las intersecciones entre el arte y lo cotidiano, sacar al espectador de su confort, y cuestionar los límites de la “normalidad”.
Selected Biographical Information
Education / Training
- 2009 – 2011: Diploma nacional superior de artes plásticas (obtenido con mención), (DNSEP). Escuela Nacional Superior de Arte Cergy. France.
- 2006 – 2009: Diploma Nacional de Artes Plásticas (obtenido con mención). Escuela superior de arte de Rueil-Malmaison. France.
- 2005 – 2006: Escuela preparatoria para las grandes escuelas de Bellas Artes. Gennèvillièrs. France.
Solo Exhibitions
- 2014: “Ejercicios de control”, Galería Nueveochenta, Bogotá, Colombia.
- 2014: “Insomnio”, ArtBo 2014, Solo proyects. Bogotá, Colombia.
- 2010: Open studio, Miyasaka, La Habana, Cuba
Group Exhibitions
- 2014: “Imagen Regional 8”, Montería, Colombia.
- 2014. “PARC”, Lima, Peru.
- 2014: “1ra bienal internacional de Arte”, Cartagena de Indias, Colombia.
- 2013: “Nuevos nombres del Banco de la república“, Bogotá, Colombia.
- 2013: “43 Salón (inter) nacional de artistas“, Medellín, Colombia.
- 2013: “Sobre la mesa/en el aire”, Alianza francesa de Barranquilla, Colombia.
- 2013: “La Otra 2013”, Cartagena de Indias, Colombia.
- 2012: “Jeune creation 2012”, Paris, France.
- 2012: “Esto es lo que estamos haciendo ahora”, Cartagena de Indias, Colombia.
- 2012: “14 Salón Regional de Artistas – Atarraya”, Santa Marta, Colombia.
- 2012: “La otra”, Cartagena de Indias, Colombia.
- 2011: “Variance longtemps accumullée”, “La permanence”, Clermont-Ferrand, France.
- 2011: “Exposición 2000-2010”, Espacio de arte «Grognard», Rueil-Malmaison, France.
Publications
- Especial ARCADIA N.109. “Los 10 nombres”, Jaime Cerón. Colombia.
- Catalogue ARTBO 2014. Colombia.
- Guía de estudio 157 del banco de la república. Colombia.
- Catalogue BIACI. 2014. Colombia.
- Catalogue de la exposición Nuevos Nombres del banco de la República. Colombia.
- Guía de estudio 142 del banco de la república. Colombia.
- Catalogue 43 Salón (inter) nacional de artistas. Colombia.
- Arte Sur. 2012, 2013. www.arte-sur.org/
- Edición Manuel Fanzine, Jeune Création. France.
- Catalogue, Jeune Création. Colombia.
- Oscar Leone, Espacios alternativos: http://espaciosalternativos.org/
- Catalogue 2000-2010. France.
- Edición ESARM – Escuela superior de arte de Rueil-Malmaison. France, 2011.
- Ricardo Carioba, “untitled”, 2010, C-Print, 96 x 170 cm.
- Ricardo Carioba, “Escrita”, 2004, Light installation, Variable dimensions.
- Ricardo Carioba, “Escrita”, 2004, Light installation, Variable dimensions.
- Ricardo Carioba, “Escape para outra estática”, 2010, Audio 5.1 and five channel video installation, Variable dimensions. Site-specific project. Location: Museu da Imagem e do Som, São Paulo, Brazil.
- Ricardo Carioba, “untitled”, 2014, Sound, light, video and lighting filters installation, Variable dimensions. Site-specific project. Location: Coletor, São Paulo, Brazil.
- Ricardo Carioba, “untitled”, 2014, Sound, light, video and lighting filters installation, Variable dimensions. Site-specific project. Location: Coletor, São Paulo, Brazil.
- Ricardo Carioba, “untitled”, 2014, Sound, light, video and lighting filters installation, Variable dimensions. Site-specific project. Location: Coletor, São Paulo, Brazil.
- Ricardo Carioba, “Escopo”, 2013, Stereo sound and three channel video installation, Variable dimensions.
- Ricardo Carioba, “Escopo”, 2013, Stereo sound and three channel video installation, Variable dimensions.
- Ricardo Carioba, “Horizonte Negro”, 2013, Quadriphonic sound and three channel video installation, (00:18:00), Variable dimensions.
- Ricardo Carioba, “Escape para outra estática”, 2010, Audio 5.1 and five channel video installation, Variable dimensions. Site-specific project. Location: Museu da Imagem e do Som, São Paulo, Brazil.
- Ricardo Carioba, “Sem Título”, 2014, Inkjet on paper, 95 x 180 cm.
- Ricardo Carioba, “untitled”, 2010, C-Print, 96 x 170 cm.
- Ricardo Carioba, “Sem Título”, 2014, Inkjet on paper, 180 x 108 cm.
- Ricardo Carioba, “Horizonte Negro”, 2013, Quadriphonic sound and three channel video installation, Variable dimensions.
I intent to create using the minimal elements of the visual and sound languages, often disturbing the habits of our sensibility.
Many of my works were developed after laws or concepts from physics and use light to reveal some characteristics of space, present but usually invisible. I always try to explore in different ways the intervals, the emptiness that defines space.
My intention is to disturb our linguistic and sensible habits in order to decondition it and make possible the birth of different forms of thinking and feeling.
My works are created after recognizing a space empty of desire – they act inside of these empty spaces.
Traducido del inglés
Intento crear usando elementos mínimos de lenguajes visuales y sonoros, a menudo distorsionando hábitos de nuestra sensibilidad.
Muchas de mis obras fueron desarrolladas a partir de leyes o conceptos de la física y utilizan luz para revelar algunas características sobre el espacio, que están presentes pero usualmente invisibles. Siempre trato de explorar los intervalos, el vacío que define el espacio, de diferentes maneras.
Mi intención es interrumpir nuestros hábitos sensibles o lingüísticos para desacondicionarlos y hacer posible el nacimiento de diferentes formas de sentir y pensar.
Mis obras son creadas a partir del reconocimiento de un espacio libre de deseo. Ellas actúan dentro de estos espacios vacíos.
Selected Biographical Information
Education
- 1995-2001: M.A. Visual Arts, Fundação Armando Álvares Penteado, São Paulo, Brazil.
Prizes / Fellowships
- 1999-2000: Fellowship Award – 31° Anual de Arte FAAP, Fundação Armando Alvares Penteado, São Paulo, Brazil.
- 2007-2008: Visiting Arts – Artist Links Residencies, Arts Council England and British Council, London, England.
Solo Exhibitions
- 2014: “Sem Título”, Coletor, São Paulo, Brazil.
- 2013: “Escopo”, Paço das Artes, São Paulo, Brazil.
- 2010: “Escape para outra estática”, Museu da Imagem e do Som, São Paulo, Brazil.
- 2009: “Branca Sua”, Centro Cultural São Paulo, São Paulo, Brazil.
- 2007: “In Side#No Form”, Galery 32, London, England.
- 2007: “LA DO”, Oi Futuro, Rio de Janeiro, Brazil.
- 2004: “White Box”, Galeria Vermelho, São Paulo, Brazil.
- 2003: “Motriz”, Paço das Artes, São Paulo, Brazil.
- 2001: “Sem Título”, Casa Triângulo, São Paulo, Brazil.
Group Exhibitions
- 2014: “Made by… Feito por Brasileiros“, Cidade Matarazzo, São Paulo, Brazil.
- 2014: “grove”, SP Arte, São Paulo, Brazil.
- 2014: “Estado de suspensão”, Coletor, São Paulo, Brazil.
- 2013: “Expo Projeção 1973-2013”, SESC Pinheiros, São Paulo, Brazil.
- 2013: “18º Festival de Arte Contemporânea Videobrasil“, SESC Pompéia, São Paulo, Brazil.
- 2011: “Travessias“, Bela Maré, Rio de Janeiro, Brazil.
- 2011: “17º Festival de Arte Contemporânea Videobrasil/ Panoramas do Sul”, SESC Belenzinho, São Paulo, Brazil.
- 2010: “QUEM TEM MEDO?”, Galeria Vermelho, São Paulo, Brazil.
- 2010: “The Creators Project“, New York, Beijing and São Paulo, USA, China and Brazil.
- 2009: “Ao redor de 4’33”, 7ª Bienal do Mercosul, Porto Alegre, Brazil.
- 2009: “Atenção: estratégias para perceber a arte”, Museu de Arte Moderna de São Paulo, São Paulo, Brazil.
- 2008: “Verbo”, Galeria Vermelho, São Paulo, Brazil.
- 2005: “12º Salão da Bahia”, Museu de Arte Moderna da Bahia, Salvador, Brazil.
- 2004: “Fotografia e Escultura no acervo do MAM”, Museu de Arte Moderna de São Paulo, São Paulo, Brazil.
- 2006: “Em Torno de Operações Mentais – Artes, hibridismos e interculturalidades”, Instituto de Ciências da Arte, Belém, Brazil.
- 2007: “Comunismo da Forma”, Galeria Vermelho, São Paulo, Brazil.
- 2002: “30° Salão de Arte Contemporânea de Santo André“, Casa do Olhar Luiz Sacilotto, Santo André, Brazil.
- 2000: “Fotografia Contemporânea Módulo 1”, Museu de Arte Moderna de São Paulo, São Paulo, Brazil.
- 2000: “32° Anual de Arte”, Fundação Armando Álvares Penteado, São Paulo, Brazil.
- 1999: “Panorama de Arte Brasileira”, Museu de Arte Moderna de São Paulo, São Paulo, Brazil.
Publicactions
- Desdobramentos da Pintura do séc. XXI (Rio de Janeiro: Editora Cobogó).
- Casa Triângulo 2013/1988 (São Paulo: Casa Triângulo).
- Elvira Vigna, “Sendo idioticamente didática: música eletrônica ressensibiliza as pessoas de dois modos”, Aguarrás, 2010.
- Marta Bogéa, “Deslocamentos acerca do cubo branco“, Arquitextos, 2007.
Collections
- Museu de Arte Moderna de São Paulo, São Paulo, Brazil.
- Fundação Vera Chaves Barcellos, Porto Alegre, Brazil.
- Carla Guagliardi, “Untitled(P.I.)”, 1990, Polyethilene, iron rods,water and time, Variable dimensions. Photo credit: Vicente de Mello.
- Carla Guagliardi, “Untitled (P.I.)” (detail), 1990, polyethylene,iron rods,water and time, Variable dimensions. Photo credit: Vicente de Mello.
- Carla Guagliardi, “Fifi”, 1991, Polyethilene,iron rods,water and time, Variable dimensions. Photo credit: Vicente de Mello.
- Carla Guagliardi, “Às Parcas e ao Edi”, 1995, Glass, water, a bunch of fine cotton threads, a bunch of fine steel wires,a bunch of fine copper wires and time, Variable dimensions. Site-specific project. Location: Haus am Waldsee, Berlin, Germany. Hoffmann. Photo credit: Uwe Walter.
- Carla Guagliardi, “Às Parcas e ao Edi”, 1995, Glass, water, a bunch of fine cotton threads, a bunch of fine steel wires,a bunch of fine copper wires and time, Variable dimensions. Site-specific project. Location: Haus am Waldsee, Berlin, Germany. Hoffmann. Photo credit: Uwe Walter.
- Carla Guagliardi, “O lugar do ar”, 1999/2012, Iron rods, synthetic rubber and time, Variable dimensions. Site-specific project. Location: Galeria Anita Schwartz, Rio de Janeiro, Brazil. Photo credit: Vicente de Mello.
- Carla Guagliardi, “O lugar que eu respiro”, 2005/2009, Copper tubes,rubber balloons,air and time, Variable dimensions. Site-specific project. Location: Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil. Photo credit: Vicente de Mello.
- Carla Guagliardi, “Gaspar”, 2007/2011, Rubber balloons, air, helium gas and time, Variable dimensions. Site-specific project. Location: Westfälischer Kunstverein, Münster, Germany. Photo credit: Carla Guagliardi.
- Carla Guagliardi, “Black dots”, 2007, Rubber balloons, rubber bands, air and time, Variable dimensions. Photo credit: Vicente de Mello.
- Carla Guagliardi, “Para quem voa, descansar”, 2006/2013, Copper tubes, rubber balloons, air and time, Variable dimensions. Site-specific project. Location: Museu do Açude, Rio de Janeiro, Brazil. Photo credit: Ricardo Amaral.
- Carla Guagliardi, “Para quem voa, descansar”, 2006/2013, Copper tubes, rubber balloons, air and time, Variable dimensions. Site-specific project. Location: Museu do Açude, Rio de Janeiro, Brazil. Photo credit: Ricardo Amaral.
- Carla Guagliardi, “Mais do que cheia (II & III)”, 2012, Glass, rubber balloon,air and time, Variable dimensions. Photo credit: Thomas Florschuetz.
- Carla Guagliardi, “Conversation”, 2012, Glass, rubber balloons ,air and time, Variable dimensions. Photo credit: Thomas Florschuetz.
- Carla Guagliardi, “Fuga”, 2014, Copper pipes, one only entire piece of red elastic rope, Variable dimensions. Site-specific project. Location: Diehl CUBE project space, Berlin, Germany. Photo credit: Marcus Schneider.
- Carla Guagliardi, “Partitura (vertical)”, 2013, Wood, piano hinges and foam balls, Variable dimensions. Photo credit: Eric Jobs.
“Where is the time I have left in this space?”
Over recent years my artistic path has predominantly followed sculptural research. The researches focus on time and concomitant duration as decisive agents, elaborating and extending my ideas across a wide variety of materials. I experiment with both organic and/or industrially rendered materials, these include such materials as plastic, iron, glass, wood, copper, steel, cotton, plants, and rubber among others. Similarly, the active-positive and entropic role of water plays a significant part in my art practice. The works render imminent (and, perhaps immanent) the action of time as it forms a mnemonic record on matter in space.
As can be seen in the enclosed photos of my work, there is the presence of a poetic language which recalls interactions between internal organic fluid forms, incorporating chance and speculation and experiencing the abstraction that results from their experience with the material. Nevertheless, no artistic activity is free from the artist’s subjective intention, regardless of purely physical and material conditions. Such assemblings combine materials that create new properties through these combinations, emphasizing on many occasions a vocabulary of physical terms like balance, density, materiality, capillarity, etc. These works, in which the physical characteristics are not virtual, symbolic or representational but where they literally exist, are nonetheless subjective emotional assemblages.
My aim is to continue the project, extend its development, while at the same time perfect some of the aesthetic and visual questions that arise from my experimental works. In short to move ahead in the sense of working with space in its continuity and extension anxiety, but simultaneously always making use of the various material confrontations that emerge. Within this aesthetic frame the paradox of disruption and temporal suspension play their part, evoke a sense of moveable perception, while also confronting contemporary mankind’s feelings as to the uncertain, unstable and fickle situation in which we live.
Traducido del inglés
“¿Dónde está el tiempo que tengo en este espacio?”
En los últimos años mi carrera artística ha seguido predominantemente una línea de investigación sobre la escultura. Las investigaciones se enfocan en el tiempo y la duración concurrente como agentes decisivos, elaborando y expandiendo mis ideas por una amplia variedad de materiales. Experimento con materiales orgánicos y/o hechos de manera industrial, los cuales incluyen materiales como plástico, hierro, vidrio, madera, cobre, acero, algodón, plantas y caucho, entre otros. De igual forma, el rol entrópico y activo-positivo del agua juega un papel importante en mi práctica. Las obras representan la inminente (y quizá inmanente) acción del tiempo mientras que forma un récord nemónico de la materia en el espacio.
Como puede ser visto en las fotos de mi obra, existe la presencia de un lenguaje poético que evoca interacciones entre formas orgánicas fluidas internas, incorporando el azar y la especulación y la abstracción que resulta de experiencia con el material. No obstante, ninguna actividad artística es libre de la intención subjetiva del artista, sin importar las condiciones puramente físicas o materiales. Tales combinaciones mezclan materiales que crean nuevas propiedades por medio de estas combinaciones, enfatizando en ocasiones un vocabulario de términos físicos tales como balance, densidad, materialidad, capilaridad, etc. Estas obras en las que las características físicas no son virtuales, simbólicas o representacionales, sino que existen literalmente en ellas, son no obstante ensamblajes emocionales y subjetivos.
Mi intención es continuar el proyecto, extender su desarrollo mientras que perfecciono la estética y cuestionamientos visuales que originan de mis obras experimentales. En breve, seguir adelante en el sentido de trabajar con el espacio en su ansiedad continua y extensa, pero siempre usando las confrontaciones materiales que puedan surgir simultáneamente. Dentro de este marco estético la paradoja de la interrupción y suspensión temporal juegan su rol, evocan un sentido de percepción movible mientras que confrontan sentimientos humanos contemporáneos de la situación incierta, inestable y frágil en la que vivimos.
Selected Biographical Information
Education
- 1990-1991: Post-graduation in History of Art and Architecture in Brazil, Pontifícia Universidade Católica do Rio de Janeiro, Rio de Janeiro, Brazil.
- 1989-1987: Escola de Ates Visuais do Parque Lage/Rio de Janeiro, Brazil.
Prizes / Fellowships
- 2010: Mostras de artistas no exterior/ Brasil Arte Contemporânea, Fundação Bienal de São Paulo e Ministério da Cultura, São Paulo/Brasília, Brazil.
- 2008: Edital Artes Visuais, Secretaria de Cultura do Estado do Rio de Janeiro, Rio de Janeiro, Brazil.
- 2007: Grant Guest artist in residence, Villa Aurora, Los Angeles, USA.
- 2002: Grant workshop-exhibition in residence program, KHOJ , Mysore/Bangalore, India.
- 2001: Grant Bolsa de Artes RIOARTE, RIOARTE, Prefeitura da Cidade do Rio de Janeiro, Rio de Janeiro, Brazil.
- 2001: Grant Helsinki International Artist-in-residence Programme,, HIAP/ Cable Factory, Helsinki, Finland.
- 1999-2000: Bolsa Virtuose, Ministério da Cultura do Brasil , Atelier Programm 1999 Kunstlerhaus Bethanien, Berlin, Germany.
- 1996: Award Best show of the year, Galerias IBEU / Instituto Cultural Brasil-Estados Unidos, Rio de Janeiro, Brazil.
- 1995: II Salão de Arte da Bahia , Museu de Arte Moderna da Bahia, Salvador, Brazil.
Solo Exhibitions
- 2014: “Fuga”, Diehl CUBE, Berlin, Germany.
- 2013: “Para quem voa, descansar“, Museu do Açude, Rio de Janeiro, Brazil.
- 2013: “Carla Guagliardi(with Evelina Cajacob)”, Galerie m Bochum, Bochum, Germany.
- 2012: “Os cantos do canto“, Galeria Anita Schwartz, Rio de Janeiro, Brazil.
- 2010: “O lugar do ar”, Instituto Mariantonia (USP), São Paulo, Brazil.
- 2009: “O lugar do ar”, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
- 2009: “Luogo d’aria“, Castel dell’Ovo, Naples, Italy.
- 2009: “Schwerelos“, Haus am Waldsee, Berlin, Germany.
- 2004: “Um mar e dois desertos”, Galerie m Bochum, Bochum, Germany.
- 2000: “Der Ort der Luft“, Kunstverein auf dem Prenzlauerberg, Berlin, Germany.
- 2000: “Nada do que não era antes”, Museu Paço Imperial, Rio de Janeiro, Brazil.
- 1999: “Nada do que não era antes”, Künstlerhaus Bethanien, Berlin, Germany.
- 1996: “Memória Líquida”, Galeria IBEU Copacabana, Rio de Janeiro, Brazil.
- 1996: “Às Parcas e ao Edi”, Galeria IBEU Madureira, Rio de Janeiro, Brazil.
Group Exhibitions
- 2014: “Berlin Heist //4th Mediations Biennale Poznan 2014“, National Museum, Poznan, Poland.
- 2011: “We make versions”, Westfälischer Kunstverein, Münster, Germany.
- 2011: “TimeFrame”, University Gallery/University of Essex, Colchester, England.
- 2010: “O desejo da forma“, Akademie der Künste, Berlin, Germany.
- 2010: “The glass delusion“, National Glass Center, Sunderland, England.
- 2008: “+40°C -30°C Contemporary Art from Brasil and Finland”, Vantaa Art Museum, Finland.
- 2006: “Interventions/Copa da Cultura“, Haus der Kulturen der Welt, Berlin, Germany.
- 2006: “Anstoss Berlin”, Haus am Waldsee, Berlin, Germany.
- 2005: “Nostalgia of the body”, Gallery Firstsite, Colchester, England.
- 2004: “Erben: Erobern”, Steirischer Herbst, Graz, Austria.
- 2003: “Alternating currents”, University of Essex, Colchester, England.
- 2002: “Morro Labirinto”, Museu Paço Imperial, Rio de Janeiro, Brazil.
- 2002: “Love’s house”, Hotel Love’s House, Rio de Janeiro, Brazil.
- 2002: “KHOJ 2002”, Workshop-exhibition, Mysore/bangalore, India.
- 1999: “Reservoir III – Aquatektura“, Grosser Wasserspeicher Prenzlauerberg,, Berlin, Germany.
- 1999: “Cuerpos. Redes. Voces. Transitos: Horizontes cambiantes“, Casa de América, Madrid, Spain.
- 1998: “Der Brazilianische Blick/ Sammlung Gilberto Chateaubrian,MAM,RJ”, Haus der Kulturen der Welt, Berlin, Germany.
- 1997: “Suspended Instant”, Art in General, New York, USA.
- 1997: “3.Internationales Projekt für Bildende Kunst“, Graz, Austria.
- 1996: “Transparências / Bienal no Rio”, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
- 1996: “Escultura Plural”, Museu de Arte Moderna da Bahia, Salvador & Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
- 1996: “Esculturas no Paço”, Paço Imperial, Rio de Janeiro, Brazil.
- 1995: “Continuum – Brazilian Art, 1960s -1990s“, University Gallery, University of Essex, Colchester, England.
- 1995: “Metrópole e Periferia”, Museu de Arte Moderna do Rio de Janeiro, Rio de janeiro, Brazil.
Publications
- Eduardo Coimbra, „A passagem do tempo“,in paper from the exhibition, Galeria Sérgio Pôrto, Rio de Janeiro, 1991.
- Márcio Doctors, „A instalação da passagem do tempo“, in newspaper Jornal O Globo, Rio de Janeiro 27/06/91.
- Lígia Canongia, „Sete x ar“,in paper from the exhibition, Museu de Arte Moderna do Rio de Janeiro, 1991.
- Roberta Oliveira, „Elementos em equilíbrio“, in newspaper Jornal do Brasil, Rio de Janeiro, 15/07/93.
- Paula Terra Cabo, „ Continuum-Brazilian Art 1960s-1990s,in catalogue University Gallery, Essex, 1995.
- Esther Emílio Carlos, „Memória Líquida“,in catalogue, Galeria de Arte IBEU, Rio de janeiro, 1996.
- Lígia Canongia, „Escultura Plural“,in catalogue, Museu do Paço Imperial, Rio de Janeiro, 1996.
- Nani Rubin, „A arte em instantes suspensos“, in newspaper Jornal do Brasil, Rio de Janeiro, 05/11/97.
- Ricardo Basbaum,“From outside in, from Inside out“, in Lapiz, 134-135,Spain, 1997.
- Claudia Calirman,“Unforming form“, in Suspended Instants (catalogue), Art in General, New York, 1997.
- Maria Chapman, „Suspendes Instants“, in Tribeca Trib, New York, January 1998.
- Matt Freedman, „Suspended Instants“,in Art Nexus n°28, Colombia/USA, May-July 1998.
- Michael Nungesser, „Der Brasilianische Blick“,in Kunstforum Bd.142,Okt-Dez 1998.
- Carrie Asman,“Die Alchemistenküche, ein Laboratorium der Kunst“,in paper from exhibition in Künstlerhaus Bethanien, November 1999.
- Esther Emílio Carlos, „O jogo das ambivalências“,in catalogue Atelier FINEP 2000,Rio de Janeiro, 2000.
- Guy Brett, „Communicating Vessels“, in Be Magazin- Kunstlerhaus Bethanien, Berlin, Sept 2000.
- Eva Karcher, „Vision vom Paradies“,in Focus, 16/2002.
- Márcio Rolo, „ Um muro de tijolos e a cidadania interrompida“,in Cubo Branco, Rio de Janeiro, March 2002.
- Aditi De, „The concerns of 24 minds“,in newspaper The Hindu, Bangalore, India, 01/12/2002.
- Gabriela Salgado, „Nostalgia of the body“,in paper from exhibition in Firstsite Gallery, Colchester/England, 2005.
- Ingo Arend, „O Desejo da Forma- Das Verlangen nach Form /Neoconcretismo und zeitgenössische Kunst aus Brasilien“, in Kunstforum ,pages 300-303, Bd 205 Nov-Dez 2010.
- Guy Brett, interview in magazine Continuum/Itaú Cultural,n°25, pages 30-35, São Paulo, 2010.
- Luiz Camillo Osório, „Carla Guagliardi: A sustentável leveza do ser“,in catalogue from the exhibition „O lugar do ar“,Museu de Arte Moderna do Rio de Janeiro, 2009.
- Guy Brett, „ A flecha do tempo“, ,in catalogue from the exhibition „O lugar do ar“,Museu de Arte Moderna do Rio de Janeiro, 2009.
- Robert Kudielka,Angela Lammert and Carla Guagliardi, in interview in the catalogue from the exhibition „Das Verlangen nach Form/ O desejo da forma- Neoconcretismo und zeitgenössische Kunst aus Brasilien“, in Akademie der Kunst, pages 216-219, Berlin, 2010.
- Jurriaan Benschop,Carla Guagliardi, in review in Artforum online, for the exhibition „Os cantos do canto“ at the Galeria Anita Schwartz in Rio de Janeiro, 29/07/2012.
- Márcio Rolo, „Para quem voa descansar“, in paper from the exhibition, Museu do Açude, Rio de Janeiro,April 2013.
- Alexandre Sá,“Para quem voa descansar“, in art magazine Dasartes, Rio de Janeiro, sept 2013.
- Alessandra Pace, „An empty glass is full of air“ in booklet from the exhibition “Fuga“, at Diehl Cube,Berlin,2014.
- Noemi Molitor,critic in exhibition „Fuga“ at the Diehl Cube, in TAZ newspaper,Berlin, 28/08/2014.
- Newspaper Tagespiegel, 2013. TSP_04-BERLIN-BERLIN_EXTRA_BLN_EXTRA1R_16_02_13
Collections
- Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
- Museu de Arte Moderna da Bahia, Salvador, Brazil.
- Coleção Gilberto Chateaubriand, Rio de Janeiro, Brazil.
- Collection Hoffmann, Berlin, Germany.
- ESCALA (Essex Collection of Art from Latin America)
- Private collections in Brazil, Germany, Holland, Belgique, Hong-Kong, Istambul/Turkey, India,Spain and Austria
Links
- Revista Arte e ensaios n° 26 (Universidade Federal do Rio de Janeiro), june 2013.
- Pesquisas Artísticas Presentes
- uba-lão, 2009
- Das Verlangen nach Form – O desejo da Forma: Neoconcretismo und zeitgenössische Kunst aus Brasilien
- Raul Mourão, “MOTO”, 2014, View from the exhibition, Variable dimensions. Photo credit: Quito.
- Raul Mourão, “Sala Sombra”, 2012, View from the installation, Variable dimensions. Photo credit: Quito.
- Raul Mourão, “Travessias”, 2011, View from the exhibition, Variable dimensions. Photo credit: Quito.
- Raul Mourão, “Untitled”, 2012, View from the monumental installation, Variable dimensions. Photo credit: Quito.
- Raul Mourão, “Untitled”, 2010, View from the exhibition Chão, Parede e Gente, Variable dimensions. Photo credit: Quito.
- Raul Mourão, “Cuidado Quente”, 2010, View from the exhibition , Variable dimensions. Photo credit: Quito.
- Raul Mourão, “Cuidado Quente”, 2010, View from the exhibition, Variable dimensions. Photo credit: Quito.
- Raul Mourão, “Pequenas Frações”, 2003, View from the exhibition, Variable dimensions.
- Raul Mourão, “Daisy e Eu”, 2008, iron, Variable dimensions. Photo credit: Luiza Baldan.
- Raul Mourão, “Entonces”, 2004, iron, Variable dimensions.
- Raul Mourão, “Buraco do Vieira”, 2001, iron, Variable dimensions. Photo credit: Edson Chagas Filho.
- Raul Mourão, “Sem braços e sem cabeça”, 2002, wood and nails, Variable dimensions. Photo credit: Daniel Mansur.
- Raul Mourão, “Surdo-mudo”, 1999, percursion instrument and granite, 95 x 60 x 60 cm. Photo credit: Vicente de Mello.
- Raul Mourão, “7 artistas”, 1995, digital video, (00:01:00), Variable dimensions.
- Raul Mourão, “A grande área”, 2001, painted iron, 2040 x 41900 x 260 cm.
Selected Biographical Information
Solo Exhibitions
- 2014: “MOTO“, Galeria Nara Roesler, São Paulo, Brazil.
- 2013: “Movimento Repouso“, Roberto Alban Galeria de Arte, Salvador, Brazil.
- 2012: “Processo“, Estudio X, Rio de Janeiro, Brazil.
- 2012: “Tração animal“, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
- 2012: “Toque devagar“, Praça Tiradentes, Rio de Janeiro, Brazil.
- 2012: “Homenagem ao cubo“, Lurixs Arte Contemporânea, Rio de Janeiro, Brazil.
- 2012: “Chão, Parede e Gente“, Lurixs Arte Contemporânea, Rio de Janeiro, Brazil.
- 2010: “Cuidado Quente“, Galeria Nara Roesler, São Paulo, Brazil.
- 2010: “Balanço Geral“, Subterrânea, Porto Alegre, Brazil.
- 2007: “Fitografias“, Lurixs Arte Contemporânea, Rio de Janeiro, Brazil.
- 2005: “LULADEPELÚCIA“, Lurixs Arte Contemporânea, Rio de Janeiro, Brazil.
- 2004: “drama.doc“, Museu de Arte Contemporânea de Niterói, Niterói, Brazil.
- 2004: “Entonces”, Paço Imperial, Rio de Janeiro, Rio de Janeiro, Brazil.
- 2003: “Pequenas frações“, Lurixs Arte Contemporânea, Rio de Janeiro, Brazil.
- 2003: “Cego só bengala“, Centro Universitário Maria Antonia, São Paulo, Brazil.
- 2002: “Portátil 98/02“, Gabinete de Arte Raquel Arnaud, São Paulo, Brazil.
- 2002: “Carga Viva“, Celma Albuquerque Galeria de Arte, Belo Horizonte, Brazil.
- 1999: “Sintético“, Agora / Fundição Progresso, Rio de Janeiro, Brazil.
- 1996: “Calouste“, Galeria Ismael Nery – Centro de Arte Calouste Gulbekian, Rio de Janeiro, Brazil.
- 1993: “Humano“, Galeria Sérgio Porto, Rio de Janeiro, Brazil.
Group Exhibitions
- 2014: “Vancouver Biennale“, International pavilion, Vancouver, Canada.
- 2014: “Artistas comprometidos? Talvez”, Fundação Calouste Gulbenkian, Lisboa, Portugal.
- 2014: “All the best artists are my friends (Part 1)”, MANA Contemporary, New Jersey, USA.
- 2014: “One Shot!”, MuBE – Museu Brasileiro da Escultura, São Paulo, Brazil.
- 2013: “7ª Bienal Internacional de São Tomé e Príncipe”, , São Tomé, São Tomé e Príncipe.
- 2013: “Miradas insobornables: imágenes en presente continuo”, Centro de Arte Contemporáneo, Hotel de Inmirantes, Buenos Aires, Argentina.
- 2013: “O abrigo e o terreno: arte e sociedade no Brasil I”, Museu de Arte do Rio, Rio de Janeiro, Brazil.
- 2012: “Art Public”, Art Basel Miami Beach, Miami, USA.
- 2012: “Gil 70”, Centro Cultural dos Correios, Rio de Janeiro, Brazil.
- 2012: “From the Margin to The Edge”, Somerset House, London, England.
- 2012: “This is Brazil! 1990 – 2012 “, Palexco, La Coruña, Spain.
- 2012: “Genealogias do Contemporâneo – Coleção Gilberto Chateaubriand”, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
- 2011: “Travessias: Arte Contemporânea na Maré”, Centro Cultural Bela Maré, Rio de Janeiro, Brazil.
- 2011: “Gigantes por la propria naturaleza”, Institut Valencià d’Art Modern, Valencia, Spain.
- 2010: “Law of the Jungle”, Lehmann Maupin Gallery, New York, USA.
- 2010: “Ponto de Equilíbrio”, Instituto Tomie Ohtake, São Paulo, Brazil.
- 2010: “Arquivo Geral”, Centro cultural Hélio Oiticica, Rio de Janeiro, Brazil.
- 2010: “Mostra Paralela 2010: A Contemplação do Mundo”, Liceu de Artes e Ofícios, São Paulo, Brazil.
- 2010: “Projetos (in)Provados”, Caixa Cultural, Rio de Janeiro, Brazil.
Publications
- MOV (Rio de Janeiro: Automática).
- ARTE BRA – Raul Mourão (Rio de Janeiro: Casa da Palavra).
- Teixeira Coelho, Coleção Itaú Comtemporâneo: Arte no Brasil, 1981 – 2006 (São Paulo: Itaú Cultural), 264 – 265.
- O Museu de arte contemporânea de Niterói: as coleções (Niterói: MAC de Niterói), 124.
Collections
- Itaú Cultural, São Paulo, Brazil.
- Museu de Arte Contemporânea de Niterói, Niterói, Brazil.
- Museu de Arte do Rio, Rio de Janeiro, Brazil.
- Coleção Gilberto Chateaubriand / Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
- ASU Art Museum, Phoenix, USA.
- Brazil Golden Art, Brazil.
- Jaime Ávila, “Talento Pirata”, 2013, Series: Talento Pirata, Synthetic canvas packed in plastic CD cases, Variable dimensions. Sayago & Pardon Collection. Photo credit: The artist.
- Jaime Ávila, “Talento Pirata”, 2013, Series: Talento Pirata, Photography packed in plastic CD cases, Variable dimensions. CIFO Collection. Photo credit: The artist.
- Jaime Ávila, “Talento Pirata”, 2013, Series: Talento Pirata, Photography packed in 240 plastic CD cases, Variable dimensions. Photo credit: The artist.
- Jaime Ávila, “Talento Pirata 2”, 2013, Series: Talento Pirata, Photography packed in two thousand plastic CD cases, Variable dimensions. Colección Banco de la Republica. Photo credit: The artist.
- Jaime Ávila, “Talento Pirata 3”, 2013, Series: Talento Pirata, Photography packed in two thousand plastic CD cases, Variable dimensions. Photo credit: The artist.
- Jaime Ávila, “Carros Bomba”, 2006, Series: Bombas, Intervention on bank file, Variable dimensions. Photo credit: The artist.
- Jaime Ávila, “Paisajes de polvo”, 2013, Chinese ink and pyroxyline on glass, Variable dimensions. Photo credit: The artist.
- Jaime Ávila, “Dust”, 2008, Series: Proyecto Polvo, Chinese ink and pyroxyline on glass, Variable dimensions. Private collection. Photo credit: The artist.
- Jaime Ávila, “Ciudad Imperio”, 2009, Photograph printed on one thousand cardboard cubes, 10cm x10cm each one, Variable dimensions. Photo credit: The artist.
- Jaime Ávila, “Ciudad Imperio-Sao Paulo”, 2009, Photograph printed on one thousand cardboard cubes, 10cm x10cm each one, Variable dimensions. Photo credit: The artist.
- Jaime Ávila, “Cinco metros cuadrados: Lima, Caracas, Bogotá, Sao Paulo, Quito. Tres metros Cúbicos: Ciudad de México, Sao Paulo, Lima”, 2003, Series: Diez metros cúbicos, Ten square meters, Photograph printed on cardboard, 10 x 10 cm each cube, Variable dimensions as an installation. Cesar Gaviria Collection. Photo credit: The artist.
- Jaime Ávila, “Cinco metros cuadrados: Lima, Caracas, Bogotá, Sao Paulo, Quito. Tres metros Cúbicos: Ciudad de México, Sao Paulo, Lima”, 2003, Series: Diez metros cúbicos, Ten square meters, Photograph printed on cardboard, Variable dimensions as an installation. Cesar Gaviria Collection. Photo credit: The artist.
- Jaime Ávila , “Diez metros cúbicos”, 2003, Ten thousand cubes of cardboard with printed photograph, 10 x 10 x10 cm each cube, Variable dimensions as an installation. Colección Cesar Gaviria. Photo credit: Víctor Robledo.
- Jaime Ávila , “Un metro cubico Bogotá”, 2001, Series: Diez metros cúbicos, Photograph printed on cardboard, Ten cubic meters. Colección Cesar Gaviria. Photo credit: Víctor Robledo.
- Jaime Ávila , “Un metro cubico Bogotá”, 2001, Series: Diez metros cúbicos, Photograph printed on cardboard, Ten cubic meters. Colección Cesar Gaviria. Photo credit: Víctor Robledo.
Translated from Spanish
When I was young I lived in a very small village, which nowadays is even smaller because people left and never came back. In that place lived the fantasy of building cities amongst the rubble, rocks, and dirt mountains. I drew them and spent the days playing with sticks and pieces of boxes. As a teenager I drew hyperrealist comic strips of cities I did not know, and when I arrived to the city to study engineering, the first thing I saw was a city that I had never imagined until then.
I feel like a tourist in it even today. I construct ideas that guard dislocated structures on the urban geography and inhabitants detached from their utopic legality. It surprises me how I can be disturbed by the great cultural difference between people that live in the same place, the same way I am surprised to find commonalities in remote landscapes, and that I am even more surprised to have found a city like the one I live in, which was just like any other city in a different time, as if it could predict something that already happened. Days go by, many times from the same place, and through photography, drawing, engraving, silkscreen, prints, installation, video, and sculpture, I develop projects that connect the actual urban ethnography with a mutant architecture archeology, which are often misinterpreted as if they were compact urban prosthetics that are woven exponentially over the horizon of that landscape I saw as a child.
Cuando era niño vivía en un pueblo muy pequeño, hoy en día es aún más pequeño porque la gente se fue y no volvió. Allí en ese lugar vivía la fantasía de construir ciudades entre montañas de escombros, rocas y tierra. Las dibujaba y pasaba los días jugando con palos y pedazos de cajas, de adolescente dibuje historietas hiperrealistas de ciudades que no conocía; cuando llegué a la gran ciudad a estudiar ingeniería, lo primero que vi fue una ciudad que nunca imagine hasta entonces.
Hoy en día me siento aun turista en ella. Construyo ideas que acorazan estructuras desarticuladas sobre la geografía urbana y habitantes desconectados de su legalidad utópica. Me sorprende demasiado como me puede perturbar la gran diferencia cultural entre gente muy cercana que habita un mismo lugar, de igual manera me sorprende encontrar cosas en común en paisajes remotos y me sorprende aún más encontrar una ciudad como esta, donde habito, que fue igual a otra ciudad en otra época, como si pudiera predecir algo que ya paso. Pasan los días, muchas veces desde un mismo lugar y así, por medio de la fotografía, el dibujo, el grabado, la serigrafía, los impresos, la instalación, el video y la escultura elaboro proyectos que conectan la actual etnografía urbana con una arqueología arquitectónica mutante, muchas veces violentada y materializada como si fueran prótesis urbanas compactas que se tejen exponencialmente sobre el horizonte de ese paisaje que veía desde niño.
Selected Biographical Information
Education / Training
- 1985-1992: Ingeniería Civil y Artes Plásticas, Universidad de los Andes, Bogotá, Colombia.
Prizes / Fellowships
- 2001: Beca Residencia México, Ministerio de Cultura Colombia, FONCA México, Ciudad de México-Tijuana, Mexico.
- 2005: Artista invitado por la Universidad de Harvard , David Rockefeller Center para Estudios Latinoamericanos, Cambridge, USA.
- 2008: Madrid Miradas, Ministerio de Asuntos Culturales y de Ministerio de Asuntos Culturales y de Cooperacion de España , Madrid, Spain.
- 2005: Mención,Salón de Arte Bidimensional , Fundación Gilberto Álzate Avendaño FUGA, Bogotá, Colombia.
- 2003: Mención, Premio Luis Caballero, Instituto Distrital de las Artes IDARTES , Bogotá, Colombia.
- 2001: Premio Salón Regional de Artistas, Ministerio de Cultura, Bogotá, Colombia.
- 2000: Primer Premio,Primer premio, IX Salón Internacional de Arte Joven MAC, Museo de Arte Contemporáneo , Bogotá, Colombia.
- 1998: Beca impresos revista PLASTICA , Ministerio de Cultura, Bogotá, Colombia.
- 1997: Primer Premio VII Salón de Arte Joven, Planetario Distrital, Bogotá, Colombia.
- 1993: Beca Colcultura Patios Urbanos, Colcultura, Bogotá, Colombia.
- 1992: Mención Especial II Bienal de Arte de Bogotá, MAMBO Museo de Arte Moderno de Bogotá, Bogotá, Colombia.
- 1991: Mención Especial, I salón de Arte Joven , Planetario Distrital, Bogotá, Colombia.
Solo Exhibitions
- 2013: “Talento Pirata”, Nueveochenta Galería, Bogotá, Colombia.
- 2012: “Bestiario”, M&R Galería, Cali, Colombia.
- 2009: “Cinco Metros Cúbicos”, MUSAC, Montería, Colombia.
- 2006: “Bombas”, Galería Alcuadrado, Bogotá, Colombia.
- 2005: “Life Is a Runway”, Harvard University, Cambridge, USA.
- 2005: “4th World “, Sandra & Philip Gordon Gallery, Boston, USA.
- 2005: “Life Is a Runway”, Museum of Fine Arts, St Petersburg, USA.
- 2005: “Puntos de Fuga”, Galería El Museo, Bogotá, Colombia.
- 2004: “Diez Metros Cúbicos”, Museo de Arte Moderno La Tertulia, Cali, Colombia.
- 2003: “Cuarto Mundo: Diez metros Cúbicos “, Galería Santa Fe, Bogotá, Colombia.
- 2001: “México: Un metro Cubico”, Museo Carrillo Gil, México DF, Mexico .
- 2000: “Los Radioactivos”, Alianza Francesa, Bogotá, Colombia.
- 1997: “Comunicado de Washington “, Galería Espacio Alterno, Bogotá, Colombia.
- 1994: “No Toque la Mercancía”, Galería Santafé, Bogotá, Colombia.
- 1993: “Patios Urbanos”, Consejo Británico, Bogotá, Colombia.
Group Exhibitions
- 2013: “A City on the Edge”, Gdansk Dolne Miasto, Gdansk, Poland.
- 2013: “Bogotapolis”, Stenersenmuseet, Oslo, Norway.
- 2012: “Pinta Nueva York”, Nueveochenta Galería , Bogotá, Colombia.
- 2011: “Resurfaced, Contemporary Colombian Art“, Magnanmetz Gallery, New York, USA.
- 2010: “Changing the Focus: Latin American Photography (1990-2005)“, Museum of Latin American Art, Los Angeles, USA.
- 2008: “Madrid Mirada“, Circulo de Bellas Artes, Madrid, Spain.
- 2008: “Sin Remedio”, Galería Alcuadrado, Bogotá, Colombia.
- 2007: “Photoquai Biennale des Images du Monde“, Musée du Quai Branly, Paris, France.
- 2006: “Art Bassel”, Galería Alcuadrado, Miami, USA.
- 2006: “Dark Places “, Santa Monica Museum of Art, Los Angeles, USA.
- 2006: “C on Cities C Photo Magazine”, X Bienal de Arquitectura de Venecia, Venecia, Italy.
- 2006: “9 Bienal de La Habana”, Consejo Nacional de las Artes Plásticas de Cuba, La Habana, Cuba.
- 2006: “ARCO 06”, ARCO, Madrid, Spain.
- 2004: “26 Bienal de Sao Paulo”, Fundación Bienal de Sao Paulo, Sao Paulo, Brazil.
- 2004: “Streets of Desire”, Bienal de Liverpool, Liverpool, UK.
- 2002: “Mapas Abiertos”, Fundación Telefónica, Madrid, Spain.
- 1999: “lll Bienal de arte de Mercosur”, Fundación Mercosur , Porto Alegre , Brazil.
- 1994: “1994 XXXV Salón Nacional de Artistas”, Colcultura, Bogotá, Colombia.
- 1992: “Salón Nacional de Artistas”, Colcultura, Bogotá, Colombia.
- 1989: “IX Salón Arturo Ravinovich”, Museo de Arte Moderno, Medellín, Colombia.
Publications
- Ivory Press, International photo Magazine. Number three (London: Ivory Press London), 94-114-291.
- Alejandro Catellote, Mapas Abiertos (Madrid: Lunwerg Editores y Fundación Telefónica), 30, 174-175, 330.
- José Roca y Sylvia Suarez , Trans político (Barcelona: Lunwerg, S.L.), 47.
- Natalia Gutiérrez, Ciudad Espejo (Bogotá: Universidad Nacional de Colombia), 51-58.
- Diego Garzón, De lo que somos (Madrid: Lunwerg Editores), 102, 158, 180.
- Museo Quai Branly, PHOTOQUAI Biennale Des Images Du Monde (Paris: Nicolas Chaudun), 66-67.
- Natalia Gutiérrez, “Jaime Ávila”, ArtNexus, 2007, 54-58.
- Claude Postel, “Photoquai, la photo au bord du fleuve”, Connaissance des ARTS PHOTO 13, 2007, 46.
Collections
- CIFO, Miami, USA.
- Banco de la Republica , Bogotá, Colombia.
- Museo de Arte Moderno de Bogotá, Mambo, Bogotá, Colombia.
- Sayago & Pardon, Los Ángeles, USA.
- 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.
- Cristina Ghetti, “Vibrancy and joy”, 2014, Acrylic on canvas, 180 x 180 x 4 cm. MACBA museum Bs As
- Cristina Ghetti, “rojo”, 2014, Series: shaped, Acrylic on wood, 40 x 70 x 2 cm. Private collection.
- istina Ghetti, “Colour thinking composition”, 2013, Acrylic on canvas, 150 x 150 x 4 cm. Private collection.
- Cristina Ghetti, “Mareas”, 2010, Series: Mareas series, Acrylic on canvas, 150 x 150 x 4 cm.
- Cristina Ghetti, “Mareas”, 2010, Series: Mareas, Acrylic on canvas, 180 x 180 x 4 cm.
- Cristina Ghetti, “Mareas”, 2010, Series: Mareas, Acrylic on canvas, 120 x 120 x 4 cm. Polythecnic university valencia.
- Cristina Ghetti, “Mareas”, 2012, Series: shaped, Acrylic on wood, 100 x 50 x 2 cm. Private collection.
- Cristina Ghetti, “Double wave”, 2013, Acrylic on canvas, 120 x 120 x 4 cm.
- Cristina Ghetti, “double wave”, 2014, Series: shaped, Acrylic on wood, 60 x 160 x 2 cm.
- Cristina Ghetti, “Mareas (detail)”, 2013, Series: shaped, acrylic on wood, 60 x 100 x 2 cm.
- Cristina Ghetti, “round mirror”, 2014, acrylic, wood and print, 100 x 100 x 15 cm.
- Cristina Ghetti, “Folding”, 2014, Series: Folding patterns, CGI, Variable dimensions.
- Cristina Ghetti, “Folding”, 2014, Series: folding patterns, audio visual instalation, Variable dimensions. Site-specific project. Location: Visual arts Faculty, Fem Code festival, Valencia, Spain.
- Cristina Ghetti, “Blinky”, 2012, Acrylic on canvas, 180 x 180 x 4 cm.
- Cristina Ghetti, “Double wave”, 2014, Series: shaped, Acrylic on wood, 50 x 100 x 2 cm.
- Cristina Ghetti, “ZIG PAINTING M14Ar”, 2014, Series: mareas, Acrylic, 60 x 160 x 2 cm. Private Collection.
I work with geometric abstraction, the goal of my work is both the interest in the re-contextualization of the foundational ideas of Abstraction, incorporating contaminations and re-appropriations, mostly of works of the 60’s.
I’m interested in points from concrete art, constructivism, kinetic and op art, permitting free transits and reconnections between forms and ideas belonging to different periods, traditions and categories in my own work.
Most of my work is a study in progress about perception, or better the boundaries between perception and reality, and art practice is an interesting field to study this condition.
I’m now centralized in the use of digital tools to materialize art pieces of different formats, I’m focused to an evolution of abstract ad kinetic art, with special mention of Op art. Interrelating: geometry, color, movement and sound, using the languages developed in the conceptual territory of abstraction, in the context of new technologies and new ways of producing/diffusing the art work. My production had been mostly centered in painting and installation, but recently I began to incorporate new media in my work believing that it can emphasize concepts as immersive spaces, synesthesia, interactivity and participation, analyzing how these characteristics can enrich the conceptual dimensions of the art work.
I’m interested also in using programming from a visual and creative perspective exploring the results in art pieces. My paintings are generated first in the computer, then translated to traditional painting, I like to mix and play with media crossings. As an artist, I’m interested in the connection with other fields, I’m working in team projects with infomaticians and mathematicians.
I have a Master of visual arts and multimedia at the UPV, Polytechnic University Valencia, Spain, and I actually develop my doctoral thesis “Post Medial Geometry,” where I make a research about the development of new geometries in visual arts.
Traducido del inglés
Trabajo con abstracción geométrica. El objetivo de mi trabajo es el interés en la recontextualización de las ideas fundacionales del abstraccionismo, incorporando contaminaciones y reapropiaciones, en su mayoría obras de la década de los sesenta.
Me interesan puntos del arte concreto, constructivismo, cinetismo y arte Op que permitan libre tránsito y reconexiones entre ideas y formas pertenecientes a diferentes periodos, tradiciones y categorías en mi propia obra.
La mayoría de mi obra es un estudio en proceso sobre la percepción o mejor dicho, los límites entre la percepción y la realidad y la práctica artística es un campo interesante para estudiar esta condición.
Hoy en día me centro en el uso de herramientas digitales para materializar obras en distintos formatos. Me enfoco en la evolución del arte abstracto y cinético con una mención especial al arte Op, interrelacionando geometría, color, movimiento y sonido, usando los lenguajes desarrollados en el territorio conceptual de la abstracción, en el contexto de nuevas tecnologías y nuevas formas de producir y difundir la obra. Mi producción se centraliza en pintura e instalación, pero recientemente comencé a incorporar nuevos medios en mi obra, puesto que creo que puede enfatizar conceptos tales como espacios inmersivos, sinestesia, interactividad y participación analizando cómo éstas características pueden enriquecer las dimensiones conceptuales de la obra.
Me interesa también utilizar programación desde una perspectiva visual y creativa explorando los resultados en las obras. Mis pinturas son primero generadas en la computadora, luego traducidos a pintura tradicional, puesto que me gusta mezclar y jugar con los cruces de medios. Como artista, me interesa la conexión con otros campos y trabajo en proyectos de equipo con especialistas de informática y matemáticos.
Tengo una maestría en artes visuales y multimedios de la Universidad Politécnica de Valencia, España y actualmente me encuentro desarrollando mi tesis doctoral “Geometría post-medios” en la que investigo la evolución de nuevas geometrías en las artes visuales.
Selected Biographical Information
Education / Training
- 2012: Doctoral thesis in course, UPV Polythecnic university valencia, Valencia, Spain.
- 2008-2010: Master in visual arts and multimedia, UPV Polythecnic university valencia, Valencia, Spain.
Prizes / Fellowships
- 2014: Beca Ifitry 2014, Ifitry, residence international d’artistes http://www.ifitry.ma/, Essaouira, Morocco.
- 2010: Beca de producción de la fundación arte y derecho 2010, para desarrollo de proyectos, Fundacion arte y derecho, Madrid, Spain.
- 2003: Primer premio Bienal de Pintura I Pinazo, Ayuntamiento de Godella, Valencia, Spain.
- 1996: Beca de residencia en la Cité Internationale des Arts, Mozarteum Argentino, Paris, France.
- 1995: Beca a la creación artística, FNA Fondo nacional de las artes, Buenos Aires, : Argentina.
- 1993: Premio Fundación nuevo mundo a la nueva pintura argentina, Fundación nuevo mundo, Buenos Aires, Argentina.
Solo Exhibitions
- 2015: “recent works”, 100 Kubik gallery, Köln, Germany.
- 2014: “colour thinking compositions“, Galleria GUM, Miami, Fl, USA.
- 2014: “Vibrancy and joy, recent works“, Galleria GUM, Miami, USA.
- 2013: “Dynamic land, recent works“, Imaginart Gallery, Barcelona, Spain.
- 2013: “recent works“, Fundación Caixa Vinarós, Vinaros, Spain.
- 2012: “Cristina Ghetti”, GC Arte, Buenos aires, Argentina.
- 2010: “recent works“, Punto Gallery, Valencia, Spain.
- 2009: “Cristina Ghetti, mareas”, Sala Coll Allas, Gandia, Spain.
Group Exhibitions
- 2015: “Flatpack art”, La aurora, Sao Paolo, Brazil.
- 2015: “group show”, Islingtonmil art space, Manchester, England.
- 2014: “Biennale de casablanca“, Ancien cathedral, Casablanca, Casablanca, Morocco
- 2014: “a global exchange, geometric abstraction since 1950“, Frost museum of art, Miami, Fl, USA.
- 2014: “flatpack art “, Kalpany art sapce, Milano, Italy.
- 2014: “Femcode“, Universidad Politécnica de Valencia, Valencia, Spain.
- 2013: “Op & Cinetic Art Then and Now, de Victor Vasarely, Carlos Cruz-Díez, Julio Le Parc, Eusebio Sempere, José María Yturralde, Eon Seon Kim y Cristina Ghetti”, Punto Gallery, Valencia, Spain.
- 2013: “Un Fold“, sala La Metro, Valencia, Spain.
- 2013: “Fem Code Festival Miradas de mujeres“, UPV, Facultad de BBAA de sant carles, Valencia, Spain.
- 2013: “FRAME research 2013“, Museu Soares dos Reis, Porto, Portugal.
- 2013: “ExUrban Screens“, Public spaces in Melbourne city, Melbourne, Australia.
- 2013: “Swapping the shifts”, freiraum art gallery, Berlin, Germany.
- 2013: “Wege Ums Kino“, Spanish embassy in Berlin, Berlin, Germany.
- 2012: “un_fold”, Fondazione Barriera, Torino, Italy.
- 2012: “Overlapping memories”, Space Gallery, Pittsburgh, USA.
- 2010: “Artistainvitartista”, Spazio Museale di Pallazzo Tornielli, Ameno, Italy.
- 1995: “Mesotica, the amercia non representativa”, Museo de arte y diseño contemporaneo, San Jose, Costa Rica.
Publications
- ANALYZING ART,CULTURE AND DESIGN IN THE DGITAL AGE” (IJACDT), chapter “abstraction in motion”.
- “Discursos en transito” (Valencia: UPV).
Collections
- MACBA Museo de arte contemporáneo de buenos aires, Buenos Aires, Argentina.
- Museo Nacional de Arte y Diseño Contemporáneo, San José, Costa Rica.
- Universidad politécnica de valencia, Valencia, Spain.
- Fundación Max Aub, Segorbe, Spain.
- Parque escultórico del rincón de Ademuz, Ademuz, Spain.
- Museo Municipal de Artes Plásticas Eduardo Sívori, Buenos Aires, Argentina.
Links
- Postmedial geometry
- Folding, A Study about Perception
- R3sist3ncias
- Cristina Ghetti in youtube
- Artista Cristina Guetti
- Alberto Borea, “View of Installation”, 2008, Series: Highways, Black Paint, wood frames, staples, Variable dimensions.
- Alberto Borea, “Highway #1”, 2008, Series: Highways, Black Paint, wood frames, staples, 267 x 293 x 48 cm.
- Alberto Borea, “Ruins and Cities”, 2008, Keyboards, VHS tapes and structure, Variable dimensions.
- Alberto Borea, “Ruins and Cities”, 2008, Keyboards, VHS tapes and structure, Variable dimensions.
- Alberto Borea, “S/T”, 2009, Series: Occidentalismos, VHS films, plexiglass, resin, 250 x 240 cm.
- Alberto Borea, “The Bridge and the Lake”, 2013, Series: Occidentalismos, VHS films on wall, 1371 x 457 cm. Site-specific project. Location: Queens Museum, New York , United States.
- Alberto Borea, “Arqueologias I, II “, 2009, Silkscreen and mixed media on canvas, Variable dimensions.
- Alberto Borea, “The city in in my head”, 2010, Series: Unique, Plastic comb, wood, white paint and led lights, 28 x 17 x 13 cm.
- Alberto Borea, “Here comes the light”, 2011, wood matches, wood, black paint, fluorescent lights, Variable dimensions.
- Alberto Borea, “Here comes the light (Detail)”, 2011, Wood matches, wood, black paint, fluorescent lights, Variable dimensions.
- Alberto Borea, “Geografia”, 2009, VHS tapes, plexiglass, resin., 175 x 250 x 22 cm.
- Alberto Borea, “Sculpture Park”, 2012, Series: Unique, Found Aluminum, collage, wood., 65 x 140 x 120 cm.
- Alberto Borea, “View of Installation, Paradero”, 2013, Series: Combis, Found buses, paint and mixed media., Variable dimensions.
- Alberto Borea, “Ciudad Mexico”, 2014, Series: Combis, Public buses, paint and mixed media., 178 x 77 x 7 cm.
My work is characterized by the continuous displacement and use of diverse media and materials. The openness towards these media helps me defining the development of an artistic proposal, where the object’s time and history take a fundamental importance within the plastic discourse.
I am interested in the relation between different cultures and histories, between the so-called center and its periphery.
The concepts related to ruins and progress are part of my interests as an artist.
Raised in Lima in the 80’s during the Peruvian civil war influenced my practice and my relation with the objects and their symbolism.
The position of distance about cultural, economic and social events constitute an important part in the process and execution of my projects.
I find myself attracted to the residues of civilization and in mapping and conceptualizing these materials for my work.
Mi trabajo se caracteriza por el uso y continuo desplazamiento de diversos medios y materiales. La apertura hacia estos medios, me ayuda a definir el desarrollo de una propuesta artística, en donde el tiempo y la historia del objeto cobran una importancia fundamental en el discurso plástico y en su proceso.
Me interesa la relación entre distintas culturas e historias, entre el llamado centro y la periferia. Los conceptos relacionados con la ruina y la promesa de la modernidad son algunos de los intereses conceptuales en mi práctica.
Haber vivido en Lima durante la guerra interna de los años ochenta ha influido en mi práctica como artista así como en mi relación con los objetos y sus simbolismos.
La posición de distancia ante fenómenos culturales y económicos constituye una parte importante en el proceso y en la ejecución de mis proyectos.
Estoy atraído por los residuos de la civilización y en la idea de mapear y resignificar estos objetos en mi trabajo.
Selected Biographical Information
Prizes / Fellowships
- 2011: Sculpture Space Residency, Utica, United States.
- 2013: Lower Manhattan Cultural Council (LMCC), New York City, United States.
- 2010: International Studio and Curatorial Program (ISCP), New York City, United States.
- 2009: Pollock Krasner Grant, VSC, Vermont, United States.
- 2009: Art OMI, New York, United States.
- 2008: Fundacion Cineros de Patricia de Phelps, Skowhegan School of Painting and Sculpture, United States.
Solo Exhibitions
- 2013: “La Naturaleza de la Defensa”, Galeria Lucia de la Puente, Lima, Peru.
- 2012: “Because of Construction”, Y Gallery, New York, United States.
- 2009: “S/T”, Galeria Isabel Hurley, Malaga, Spain.
- 2008: “Residencia”, Espacio La Culpable, Lima, Peru.
- 2008: “Ruinas y Ciudades”, Galeria Lucia de la Puente, Lima, Peru.
Group Exhibitions
- 2014: “Permission to be Global“, Museum of fine Arts Boston, Boston, United States.
- 2013: “Queens International“, curated by Hitomi Hiwasaki and Meiya Cheng, Queens Museum, New York City, United States.
- 2013: “The Name, The Nose”, curated by Raul Zamudio, MuseoLaboratorio, Citta San Angello, Italy.
- 2012: “New York”, Art Museum of the Americas, curated by Paco Cano, Eva Mendoza and Jodie Di Napoli, Washington DC, United States.
- 2012: “Tracing the Unseen Border” curated by Ian Coffre and Omar Lopez Chahoud, La Mama Gallery, New York City, United States.
- 2011: “Dublin Contemporary“, curated by Jota Castro and Christian Viveros Faune, Earls Terrace, Dublin, Ireland.
- 2011: “El Museo Biennial, The S files“, curated by Elvis Fuentes and Rocio Aranda Alvarado, Museo del Barrio, New York City, United States.
Collections
- Madeira Corporate Services Collection, Portugal.
- CIFO, Cisneros Fontanals, Miami, United States.
- Coleccion Patricia Phelps de Cisneros, New York, United States.
- arocha-schraenen, “Circa Tabac”, 2007, Glass mirror and stainlass steel, 52 x 14000 x 150 cm. Photo credit: Arocha-Schraenen.
- arocha-schraenen, “Table”, 2012, Glass mirror and stainless steel, 95 x 75 x 175 cm. Photo credit: Jochen Littkeman.
- arocha-schraenen, “24/7”, 2009, stainless steel, plexiglass, 406 x 560 cm.
- arocha-schraenen, “Breath”, 2013, Leather, MDF and oak veneer, 50 x 680 x 4 cm. Photo credit: Pieter Huybrechts.
- arocha-schraenen, “Gold Box”, 2008, mirrored Plexiglass, glass mirror and enameled MDF, 100 x 100 x 25 cm.
- arocha-schraenen, “Memory I”, 2013, Steel, glass mirror and enamel, 135 x 165 x 300 cm. Photo credit: Pieter Huybrechts.
- arocha-schraenen, “P5bis”, 2008, Mirrored Plexiglas and stainless steel, Variable dimensions. Photo credit: Pieter Huybrechts.
- arocha-schraenen, “Memory II”, 2013, Steel and enamel, 135 x 165 x 300 cm. Photo credit: Pieter Huybrechts.
- arocha-schraenen, “When We Leave They Leave”, 2006, Mirrored acrylic and steel, 200 x 100 cm.
- arocha-schraenen, “Chicago Marauder”, 2007, Mirroded Plexiglas and stainless steel, 645 x 330 x 126 cm.
- arocha-schraenen, “The Discrepancy Between the Pale and the Dark Zone”, 2012, Plexiglas and enameled MDF, 50 x 250 x 35 cm.
Selected Biographical Information
Solo Exhibitions
- 2014: “In A Rhyhtmic Fashion”, Glyptotheca, Zagreb ,Croatia.
- 2014: “(to be titled)”, L.A.R.V.A., Guadalajara, Mexico.
- 2014: “Persiana”, CC De Garage, Mechelen, Belgium.
- 2013: “Click”, KaBe Contemporary, Miami, USA.
- 2013: “What Now?”, Isabella Czarnowska Galerie, Berlin, Germany.
- 2013: “Sunday”, Wako Works of Art, Tokyo, Japan.
- 2012: “Looking For Clues”, ltd Los Angeles, Los Angeles, USA.
- 2012: “The Discrepansy Between the Pale and the Dark Zone”, Ganes Pratt, MALA Gallery, Ljubljana, Slovenia.
- 2012: “After”, CAB de Burgos, Burgos, Spain.
- 2011: “Cabin Fever”, Cabin, Antwerp, Belgium.
- 2011: “Five Colors”, Editions Copenhagen, Copenhagen, Denmark.
- 2011: “Circa Tabac At the Wallace Collection”, curated by Ken Pratt, Wallace Collection, London, UK.
- 2010: “Undertow”, KaBe Gallery, Miami, FL, USA.
- 2010: “25°85’08” N – 80°12 ‘03””, Agency PLC at NADA Miami, Deauville Hotel, Miami, FL, USA.
- 2010: “Waterloo Station”, Peter Pilotto winter collection 2011, Fashion Week, Waterloo Station, London, UK.
- 2010: “As If”, Monique Meloche Gallery, Chicago, IL, USA.
- 2010: “Sequence #4”, Koraalberg Gallery, Antwerp, Belgium.
Group Exhibitions
- 2014: “Museum to Scale 1/7”, Kunsthal, Rotterdam, Netherlands.
- 2014: “HOW SIX MEN GOT ON IN THE WORLD”, Berlin, Germany.
- 2014: “Museum to Scale 1/7”, The Baker Museum, Artis-Naples, Florida, USA.
- 2013: “Selected Works: Carla Arocha & Stéphane Schraenen, Louis Lawler and Markus Döbeli Isabella Czarnowska Galerie, Berlin, Germany.
- 2013: “Museum to Scale 1/7”, Royal Museums of Fine Arts of Belgium, Brussels, Belgium.
- 2013: “Place Is the Space”, Contemporary Art Museum, St Louis Missouri, USA.
- 2013: “The Distaff Side”, The Melva Bucksbauam collection at the Granary, Sharon Connecticut, USA.
- 2013 :”CAB Burgos Collection”, El Centro de Arte Alcobendas Madrid, Spain.
- 2012: “Caraota von Moules”, with Arturo Herrera and Meyer Weisman, Künstlerhaus Bethaniën, Berlin, Germany.
- 2012: “Spectral Metropole”, curated by Ken Pratt, City Museum (Mestni Muzej), Vzigalica Gallery, Ljubljana, Slovenia.
- 2011: “New Art From Belgium”, Galerie Christian Nagel, Berlin, Germany.
- 2011: “You Never Walk Alone”, curated by Vanessa van Obberghen, Worksound, Portland, OR, USA.
- 2011: “Artefact 2011”, S.T.U.K., Leuven, Belgium.
- 2011: “New Art From Belgium”, Galerie Christian Nagel, Cologne, Germany.
- 2011: “Carla Arocha – Stéphane Schraenen: Framed and Vaast Colson: Screwed”, BeLa Editions, Brussels, Belgium.
- 2010: “Into the Light”, December 9-19, 2010, Royal Museum of Fine Arts, Antwerp, Belgium.
- 2010: “The Raw and the Cooked”, curated by Clayton Press and Gregory Linn, Anna Kustera Gallery, New York, USA.
- 2010: “New Art From Belgium”, Galerie Christian Nagel, Antwerp, Belgium.
- 2010: “The State of Things”, curated by Ai Wei Wei and Luc Tuymans, National Art Museum of China, Beijing, China.
- 2010: “POP-ARTPOP-ART”, NICC (New International Centre of Culture), Antwerp, Belgium.
- 2010: “Célébration”, F.R.A.C. Auvergne, Clermont-Ferrand, France.
Publications
- 2014: SIMON, Joan, ‘The Women’: The Distaff Side. Sharon, CT,p 104
- 2013: NEHB, Julika, ‘What Now’, Kunst, Berlin, Germany. p 6-10
- 2013: PATT, Ken, ‘Account’, What Now?, Galerie Isabella Czarnowska, Distanz, Berlin, Germany. p 9-12
- 2013: MOLESWORTH, Helen, ‘Interview with Carla Arocha’, What Now?, Galerie Isabella Czarnowska, Distanz, Berlin, Germany. P14-22 / MOLESWORTH, Helen, ‘Interview with Stéphane Schraenen’, What Now?, Galerie Isabella Czarnowska, Distanz, Berlin, Germany. P 24-31
- 2013: MOLON, Dominic, ‘Place is the Space: A Building, A Decade, An Exhibition’,Contemporary Art Museum St Louis, St Louis, Missouri, p 39, 41, 44-45
- 2013: KREUGER, Anders, The Collection as a Character, M HKA, Antwerp, p.69
- 2012: PRATT, Ken, ‘Global Positioning system (GPS) – Or The Bitter Tears of Caraota von Moules’: Caraota von Moules, Kunstlerhaus Bethanien, Berlin, Germany.p 3-15
- 2012: (H)ART, ‘Protject of Arocha-Schraenen: Umbrellas In Olimpyc London, March, pp.21 (ill.)
- 2012: (H)ART, ‘After’ At CAB Burgos’, January, pp.15
- 2012: RICH, Sarah, ‘Afterthought’, exhibition catalogue After. CAB de Burgos,Burgos, Spain.
- 2012: RICH, Sarah, ‘Soto and You in Soto Paris and Beyond 1950-1970’, Grey Art Gallery, NYU, New York, pp. 45-53
Collections
- American Express, New York NY, USA.
- Art Institute of Chicago, Chicago IL, USA.
- Benedictine University, Chicago, USA.
- British Airways Collection, O’Hare International Airport, Chicago IL, USA.
- CAB De Burgos, Burgos, Spain.
- C.I.F.O., Miami, Fl, USA.
- F.R.A.C. Auvergne, Clermont-Ferrand, France.
- F.R.A.C. Bourgogne, Dijon, France.
- Fundación Banco Mercantil, Caracas, Venezuela.
- MCA, Chicago, IL, USA.
- MOMA, New York NY, USA.
- MUHKA, Antwerp, Belgium.
- Nationale Bank Van België – Banque Nationale de Belgique, Brussels, Belgium.
- Stiftung Kunsthalle Bern, Bern, Switzerland.
- Walker Art Center, Minneapolis, MN, USA.
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.
Translated from Spanish
Through deliberately diverse media, such as sculpture, drawing, video, and programming, and through processes highly influenced in a logic particular from digital image and programming, his work seeks to question regimes of representation, information, and knowledge.
A través de medios deliberadamente variados, como la escultura, dibujo, video y programación, y procesos altamente influenciados por lógicas particulares de la imagen digital y la programación, su obra busca interrogar regímenes de representación, información y conocimiento.
Selected Biographical Information
Education / Training
- 2009-2011: MFA, New Genres, San Francisco Art Institute, San Francisco, United States.
- 1999-2004: Maestro en Artes Plásticas, Universidad Nacional de Colombia, Bogotá, Colombia.
Prizes / Fellowships
- 2009-2011: Beca Fulbright – Ministerio de Cultura para artistas, Fulbright – Ministerio de Cultura de Colombia, Bogotá, Colombia.
- 2011: Outstanding Graduate Student Award New Genres Department, San Francisco Art Institute, San Francisco, United States.
- 2012: Premio de adquisición, Fundación GIlberto Alzate Avendaño, Bogotá, Colombia.
- 2006: . Salón de Arte BBVA, Salón de Arte BBVA, Bogotá, Colombia.
- 2013: El planeta mestizo. Proyecto ganador de las convocatorias Exposiciones en la Galería Santafé, IDARTES, Bogotá, Colombia.
Solo Exhibitions
- 2013: “Blood“, Savernack Street, San Francisco, United States.
- 2012: “Peste. Proyecto con Liliana Sánchez”, Alianza Colombo Francesa, Bogotá, Colombia.
- 2011: “Forma y función“, LA galería, Bogotá, Colombia.
- 2009: “Acá, así. Proyecto con Liliana Sánchez”, Casa Tres Patios, Medellín, Colombia.
- 2008: “-1,0,1”, LA galería, Bogotá, Colombia.
- 2007: “La tierra es redonda, el mundo es plano”, Sala alterna, Galería Santafé, Bogotá, Colombia.
- 2005: “Cristales y gases / cazador y presa”, Alianza Colombo Francesa, Bogotá, Colombia.
Group Exhibitions
- 2013: “Objects in mirror are closer than they appear“, Lugar a dudas, Cali, Colombia.
- 2013: “Digital analogy”, MAC, Bogotá, Colombia.
- 2013: “Fotográfica Bogotá: Paisajes Intervenidos“, LA galería, Bogotá, Colombia.
- 2013: “Site Non-Specific“, Et Al., San Francisco, United States.
- 2012: “I Premio Bienal Internacional Micro-objeto Interactivo”, Fundación Gilberto Alzate Avendaño, Bogotá, Colombia.
- 2013: “Pinta NY”, LA Galería, New York, United States.
- 2012: “Invenciones Modernas“, Cámara de Comercio sede Chapinero, Bogotá, Colombia.
- 2012: “Proyecto Cooperativa. 14 Salones regionales de artistas zona centro“, El parqueadero. Banco de la República, Bogotá, Colombia.
- 2011: “Liminal Takes – Arte Contemporáneo Latinoamericano“, Root Division, San Francisco, United States.
- 2010: “Uncertain Ratio. Proyecto con Liliana Sánchez“, Imperial College, London, UK.
- 2010: “Traces of Systems”, Diego Rivera Gallery. San Francisco Art Institute, San Francisco, United States.
- 2010: “Today”, Mission Cultural Center for Latino Arts, San Francisco, United States.
- 2010: “I-Object”, Royal Nonesuch Gallery, Oakland, United States.
Publications
- Daniel Silvo y Juan Cárdenas, “Objects in mirror are closer than they appear“, Contragolpe (blog), February 2014.
- Paula Santana, “Una cuestión de percepción“, El Espectador, December 18, 2011.
Collections
- Banco Itaú, Bogotá, Colombia.
- Fundación Gilberto Alzate Avendaño, Bogotá, Colombia.
Links
- David Peña Lopera, “LeWitt”, 2013, Reloj digial modificado para mostrar todas las permutaciones posibles de los segmentos de los dígitos, 15 x 15 x 15 cm.
- David Peña Lopera, “Sin título”, 2010, Piezas de madera suspendidas con alfileres, Variable dimensions. Photo credit: Daniel Silvo.
- David Peña Lopera, “Planos inclinados, masas cortadas”, 2011, Espejos y papel aluminio, Variable dimensions.
- David Peña Lopera, “Sin reacción”, 2013, Rubíes bajo luz verde. Basada en la canción “Sin reacción” de Mutantex, Variable dimensions.
- David Peña Lopera, “Sin reacción (detalle)”, 2013, Rubíes bajo luz verde. Basada en la canción “Sin reacción” de Mutantex, Variable dimensions.
- David Peña Lopera, “Antes y antes y después y después”, 2012, Imágenes descargadas de internet, telas impresas y varillas metálicas, Variable dimensions.
- David Peña Lopera, “Desarrollos de los sólidos platónicos estirados / Stretched Platonic Solids Nets”, 2010, Tela elástica y tachuelas, Variable dimensions.
- David Peña Lopera, “Black glitter”, 2010, Digital print on cotton paper, 35 x 45 cm.
Over the last years I’ve been developing a series of sculptural works that seek to investigate the layers that constitute and construct things and places. Relating directly to the physicality of the space as a point of departure. Using found objects and places that accumulate layers of information, containing what is particular from a place. The superficial skin becomes a profound path to explore and discover in each step the intersection of different experiences of time. (The historic time, material time, the time of everyday, and perhaps a more existential/psychological time that has to do with the duration of the experience.) The gesture is sculptural but without making sculpted objects; using destruction as a way of construction, allowing an engagement to a particular place and all the confluences and dimensions within. My work is site-responsive; it takes in consideration the architecture and the context of the surroundings, generating a layered outcome.
Traducido del inglés
A lo largo del tiempo he desarrollado una serie de trabajos escultóricos que buscan investigar las capas que constituyen y construyen las cosas y los lugares. Están relacionados directamente con la cualidad física del espacio como punto de partida. Usando objetos encontrados y lugares que acumulan capas de información, conteniendo las particularidades de cada lugar. La piel superficial se vuelve en un camino profundo para explorar y descubrir a cada paso el cruce de diferentes experiencias del tiempo (del tiempo histórico, tiempo material, tiempo cotidiano y quizá un tiempo más existencial y psicológico que está relacionado con la duración de la experiencia.) El gesto es escultórico pero sin realizar objetos; usando destrucción como una forma de construcción, permitiendo una interacción con un sitio particular y todas las confluencias y dimensiones del mismo. Mi obra responde al lugar y toma en consideración la arquitectura y el contexto de sus alrededores, generando un resultado con muchos niveles.
Selected Biographical Information
Education / Training
- 2001-2004: MFA, University of California, Los Angeles (UCLA), Los Angeles, United States.
- 1995-1999: BFA, Los Andes University, Bogotá, Colombia.
Prizes / Fellowships
- 2012: Premio 2ºBienal de Artes Plásticas y Visuales, Fundación Gilberto Alzate Avendaño, Bogotá, Colombia.
- 2012: LARA (Latin American Roaming Art), Asiaciti Trust, Bogotá, Colombia.
- 2010: Workshop with Mona Hatoum, Fundación Marcelo Botin, Santander, Spain.
- 2008: Gran Premio MOLAA Awards, Museum of Latin American Art, Long Beach, USA.
Solo Exhibitions
- 2014: “el tiempo lo aguanta todo“, Casas Riegner Gallery, Bogotá, Colombia.
- 2014: “Invited project“, Museo de Arte Moderno La Tertulia, Cali, Colombia.
- 2011: “lo deshecho“, Casas Riegner Gallery, Bogotá, Colombia.
- 2006: “Traces of displaced recollection“, d.e.n. Contemporary Art, Los Angeles, USA.
Group Exhibitions
- 2013: “Artesur, Collective Fictions“, Palais de Tokyo, Paris, France.
- 2013: “Salón Nacional de Artistas“, Medellín, Colombia.
- 2013: “LARA 2012 (Latin American Roaming Art)“, NC-Arte, Bogotá, Colombia.
- 2012: “Tracing Time“, Josee Bienvenu Gallery, New York, USA.
Collections
- West Collection, Philadelphia, USA.
- Museum of Latin American Art, Long Beach, USA.
- F.G.A.A., Bogotá, Colombia.
- Leyla Cárdenas, “extract for permutation”, 2014, Hand-cut giclée prints on paper, 1.30 x 1.06 x 6 cm.
- Leyla Cárdenas, “Dintel”, 2014, Giclée paper print mounted on plaster and rusted metal structure, 540 x 40 x 1 cm.
- Leyla Cárdenas, “Permutation (study#1)”, 2014, Giclée paper print mounted on demolition waste, Variable dimensions.
- Leyla Cárdenas, “Permutation (study#1)-detail”, 2014, Giclée paper print mounted on demolition waste, Variable dimensions.
- Leyla Cárdenas, “Permutation (study#1)-detail”, 2014, Giclée paper print mounted on demolition waste, Variable dimensions.
- Leyla Cárdenas, “Excision”, 2012, Peeled paint, recovered wallpaper, cement, plaster, wire, wood, Variable dimensions. West Collection. Photo credit: Sebastiano Pellion.
- Leyla Cárdenas, “sketch for a retaining wall “, 2011, Metal rods, cement paper, Variable dimensions. Site-specific project. Location: Galería Casas Riegner, Bogotá, Colombia.
- Leyla Cárdenas, “Anteponer”, 2012, Sanded wood veneer, Variable dimensions. Site-specific project. Location: Fundación Gilberto Alzate Avendaño, Bogotá, Colombia. FGAA.
Translated from Spanish
My work is inspired by the contradictions of urban development and the growth of the city. It reflects on how these phenomena influence the relationships we have with spaces. I am interested in examining the influences of the process of architectural modernization in the shaping of particular ways of spatial perception.
Through a variety of mediums including installation, sculpture, photography, drawing, and video, my recent projects explore the ways architecture is conceived and projected, paying especial attention to the tools and systems of representation that are used for this purpose, and which strongly determine the configuration and nature of the constructions. In these works, the mechanisms of projection are compared to real physical spaces, proposing new relationships, and translating abstract codes of representation to concrete physical spaces to discover tensions and discrepancies between these two instances, as well as reveal ideological implications that lie beneath.
Mi trabajo se nutre de las contradicciones del desarrollo urbano y del crecimiento de la ciudad. Reflexiona acerca de cómo estos fenómenos inciden en las relaciones que establecemos con los espacios. Me intereso por examinar las influencias del proceso de modernización arquitectónica en el moldeamiento de formas particulares de percepción espacial.
A través de un variado repertorio de medios que incluyen instalación, escultura, fotografía, dibujo y video, mis proyectos recientes investigan las formas como se concibe y proyecta la arquitectura, prestando especial atención a los instrumentos y sistemas de representación que se emplean para este fin, que determinan poderosamente la configuración y la naturaleza las construcciones. En estas obras se confrontan los mecanismos de proyección con los espacios físicos reales, proponiendo nuevas relaciones, y se traducen los códigos abstractos de representación a los espacios físicos concretos, para descubrir tensiones y discrepancias entre estas dos instancias, así como para develar implicaciones ideológicas que allí subyacen.
Selected Biographical Information
Education / Training
- 2011-2013: Magister en Artes Plásticas y Visuales, Universidad Nacional, Medellín, Colombia.
- 1991-1997: Maestro en Artes Plásticas, Universidad Nacional, Medellín, Colombia
Prizes / Fellowships
- 2015: Artista invitado al intercambio de residencias entre las Fundaciones Matadero Madrid y Flora Ars & Natura., Fundación Matadero Madrid, AECID y Flora Ars & Natura, Madrid, Spain.
- 2011: Mención de Honor I Bienal de Arte de Bucaramanga – Desde Aquí, Centro Cultural del Oriente, Bucaramanga., Colombia.
- 2009: Ganador Convocatoria Arte en la Vía, Alcaldía de Medellín, Secretaría de Tránsito y Museo de Antioquia, Medellín
- 2008-2010: Premio Bienal Salón Colombiano de Fotografía, Sala de Arte de Suramericana, Medellín, Colombia.
- 2007: Beca de Creación, Alcaldía de Medellín y Secretaría de Cultura Ciudadana, Medellín, Colombia.
- 2004: Segundo Premio. I Salón Nacional de Escultura – Premios Nacionales De Cultura, Universidad de Antioquia, Museo Universitario,Cámara de Comercio, Medellín, Colombia.
- 2001: Mención de Honor. Noveno Salón de Pintura Banco Ganadero, Galería Casa Cuadrada, Bogotá, Colombia.
- 2000: Primer Premio. I Salón Nacional de Dibujo Universidad de Antioquia, Museo Universitario, Medellín, Colombia.
- 1998: Primer Premio VIII Encuentro de Artes Plásticas Ciudad de Medellín, Museo de Antioquia, Medellín, Colombia.
- 1993: Segundo Premio VII Salón Nacional de la Acuarela, Museo de Antioquia, Medellín, Colombia.
- 1993: Primer Premio III Encuentro de Artes Plásticas Ciudad de Medellín, Museo de Antioquia, Medellín, Colombia.
Solo Exhibitions
- 2013: “Proyecciones Telúricas”, Fundación Calle Bohemia, Armenia, Colombia.
- 2012: “Especulante”, Programa ALBO, Casa de la Música, sede alterna del Museo de Arte Moderno, MAMM, Medellín, Colombia.
- 2010: “Reformas”, Casa Tres Patios, Medellín, Colombia.
- 2009: “Suelo Falso”, Galería De La oficina, Medellín, Colombia.
- 2005: “Extinciones / Extensiones: Reflexiones sobre lo Urbano”, Galería de Arte John Harriman, Centro Cultural Peruano-Británico, Lima, Perú.
- 2004: “Reserva”, Galería de la Alianza Colombo Francesa, Medellín, Colombia.
- 2003: “En el aire”, Sala múltiple, Corporación Colegiatura Colombiana, Medellín, Colombia.
- 2000: “Cielos Domésticos”, Galería de Arte, Centro Comfenalco, Medellín, Colombia.
Group Exhibitions
- 2014: “Espacio”, Galería Plecto , Medellín, Colombia.
- 2014: “IV Feria de Arte ODEÓN“, Espacio Odeón, Bogotá , Colombia.
- 2014: “Línea Blanda / Arte Abstracto 2014“, Galería Sextante, Bogotá, Colombia.
- 2014: “Tiempo Complementario”, Galería de la Oficina, Medellín, Colombia.
- 2014: “Medellín una Ciudad en Construcción. Exposición paralela al foro Urbano Mundial. “, Edificio Antioquia. , Medellín, Colombia.
- 2013: “SABER DESCONOCER 43 Salón (Inter) Nacional de Artistas“, Museo de Antioquia, Medellín, Colombia.
- 2013: “En el Horizonte de Cano- Una Mirada Desde el Arte Actual”, Sala de Arte Biblioteca Universidad EAFIT, Medellín, Colombia.
- 2013: “Gloria y DInero. Exposición paralela al 43 Salón (Inter) Nacional de Artistas”, Galería De La Oficina, Medellín, Colombia.
- 2012: “Contenedores”, Banasta Mediaciones Arte y Cultura, LLano Grande, Colombia.
- 2012: “Pabellón Artecámara, Nodos de la Emergencia”, Artbo 2012, Corferias, Bogotá, Colombia.
- 2012: “El Residir XIV Salón Regional de Artistas, Zona Centro Occidente“, Museo de Arte Moderno MAMM, Medellín, Colombia.
- 2012: “Especulaciones”, Sala de Arte Universidad de Caldas, Manizales, Colombia.
- 2011: “De Urbe-Sobre la Ciudad”, Sala de Arte de Suramericana de Seguros, Medellín, Colombia.
- 2011: “Artificios. La Naturaleza en el arte/la naturaleza del Arte”, (MAMM) Museo de Arte Moderno de Medellín, Medellín, Colombia.
- 2011: “I Bienal de Arte de Bucaramanga- Desde Aquí”, Centro Cultural del Oriente, Bucaramanga, Colombia.
- 2010: “VII Bienal Salón Colombiano de Fotografía”, Sala de Arte de Suramericana, Medellín, Colombia.
- 2010: “Puntos de Fuga- Arquitecturas Posibles”, Biblioteca EPM, Museo de Arte Moderno, Medellín, Colombia.
- 2010: “200 cm.2 de Bicenteario-In –Situ”, Gaería Paul Bardwel, Centro Colombo-Americano, Medellín, Colombia.
- 2010: “No Soul for Sale”, Casa Tres Patios, Turbine Hall, Tate Modern, Londres, Inglaterra.
- 2010: “Dorado Dorado”, Museo de Arte Moderno, itinerante por Madrid y Medellín, Madrid- Medellín, España-Colombia.
- 2009: “Historia Natural y Política”, Sala de Arte Biblioteca Universidad Eafit, Medellín, Colombia.
- 2009: “Casa de Citas”, Museo de Arte Moderno, Medellín, Colombia.
- 2009: “El Dibujo es Mentira”, Galería de la Alianza Colombo/Francesa, Barranquilla, Colombia.
- 2009: “La Selección Nacional”, Sala de Arte de Suramericana, Medellín, Colombia.
- 2009: “Imagen Regional II Circuito Nacional”, Banco de la República, Biblioteca Luis Ángel Arango, Bogotá, Colombia.
- 2008: “Imagen Regional ll”, Sala de Arte del Banco de la República, Medellín, Colombia.
- 2008: “Sala de Arte del Banco de la República”, Museo de Arte Religioso, Cali, Colombia.
- 2008: ” VII Bienal Salón Colombiano de Fotografía”, Sala de Arte de Suramericana, Medellín, Colombia.
- 2007: “Fotología 5”, La Galería, Bogotá, Colombia.
- 2007: ” Teatros de Operación: Zonas en Fricción”, 15 Salón de Arte BBVA, Medellín, Bogotá, Cali, Barranquilla, Colombia.
- 2007: “12 Salón Regional de Artistas.Región Centro Occidente”, Museo de Arte Moderno, Manizales, Pereira, Medellín, Colombia.
- 2006: ” Puntos de Vista, Reflexiones al Aire Libre. Paisaje Contemporáneo en la Colección del MAMM”, Museo de Arte Moderno, Medellín, Colombia.
- 2006: ” Demostrativos- Arte Joven en Suramericana de Seguros”, Sala de Arte Suramericana de Seguros, Medellín, Colombia.
- 2006: “In Situ, 25 años de la. Facultad de Artes de la Universidad de Antioquia”, Galería Paul Bardwel, Centro Colombo Americano, Medellín, Colombia.
- 2005: “Natura”, Museo de Arte Moderno de Medellín, Medellín, Colombia.
- 2005: “X Salón Regional de Artistas Zona Centro – Occidente”, Museo de Arte Moderno de Medellín, Museo de arte Moderno de Pereira, Medellín – Pererira, Colombia.
- 2005: “Concurso de Artes Plásticas La Libertad guiando al Pueblo, Embajada de Francia en Colombia”, Museo de Arte Moderno, Medellín, Medellín, Colombia.
- 2005: “Arte joven 2005”, Museo de Arte Moderno de Bogotá, Bogotá, Colombia.
- 2004: “Salón Nacional de Escultura-Premios Nacionales de Cultura, Universidad de Antioquia”, Museo Universitario U.de A. Cámara de Comercio de Medellín, Medellín, Colombia.
- 2003: “Diversidad”, Instituto Superior de Arte (I. S. A), La Habana, Cuba.
- 2003: “Salón de Agosto”, Museo de Arte Contemporáneo M.A.C., Bogotá, Colombia.
- 2003: “Salón Artes Buen Vivir”, Galería Sala de Espera, Bogotá, Colombia.
- 2003: ” XI Salón Nacional de Artistas Jóvenes”, Galería Santa Fe, Bogotá, Colombia.
- 2001: “Bienal Itinerante de Arte-Acontecimiento”, Universidad Mayor de San Marcos y Municipalidad de Cusco, Cusco, Perú.
- 2001: “Segundo concurso Nacional de Pintura”, Bolsa Nacional Agropecuaria, sede del BNA, Bogotá, Colombia.
- 2001: “Noveno Salón Nacional de Pintura, Banco Ganadero”, Galería Casa Cuadrada, Bogotá, Colombia.
- 2000: “IX Salón Regional de Artistas Bienal Zona Antioquia”, Sala de Arte Suramericana, Museo de Arte Moderno, Medellín, Colombia.
- 2000: “Salón Nacional de Dibujo Universidad de Antioquia”, Museo Universitario, U. de A., Medellín, Colombia.
- 1999: “IX Encuentro de Artes Plásticas ciudad de Medellín”, Museo de Antioquia, Medellín, Colombia.
- 1998: “VIII Encuentro de Artes Plásticas Ciudad de Medellín”, Museo de Antioquia, Medellín, Colombia.
- 1997: “XVI Salón Arturo y Rebeca Rabinovich”, Museo de Arte Moderno, Medellín, Colombia.
- 1994: “XV Salón Arturo y Rebeca Rabinovich”, Museo de Arte Moderno, Medellín, Colombia.
- 1994: “Cincuenta Años de pintura y Escultura en Antioquia”, Museo de Arte Moderno, Sala de Arte Suramericana, Medellín, Colombia.
- 1994: “VII Salón Nominados al Premio Alzate Avendaño”, Centro Cultural Gilberto Alzate Avendaño, Bogotá, Colombia.
- 2004: “VII Salón Nacional de la Acuarela”, Museo de Antioquia, Medellín, Colombia.
- 1993: “Siete Pintores “, Galería Ensamble 7, Medellín, Colombia.
- 1993: “Lugar Común”, Politécnico Jaime Isaza Cadavid, Medellín, Colombia.
- 1993: ” III Encuentro de Artes Plásticas Ciudad de Medellín”, Antioquia, Medellín, Colombia.
Publications
- Alba Cecilia Gutierres Gomez, Armando Montoya López, Luz Análida Aguirre Restrepo, Sol Astrid Giraldo Escobar, La Instalación en el arte antioqueño, 1975-2010 (Medellín: Universidad de Antioquia), 128.
- Efren Giraldo, “John Mario Ortiz y los desastres de la proyección“, Revista Co-herencia vol.9 no.17, Julio 2012, 237-245.
Collections
- Colección Banco de la República, Bogotá, Colombia.
- Colección de arte Suramericana, Medellín, Colombia.
- Museo Universitario Universidad de Antioquia, Medellín, Colombia.
- Museo de Arte Moderno de Medellín (MAMM), Medellín, Colombia.
- Club Fotográfico de Medellín, Medellín, Colombia
Links
- John Mario Ortiz, “Deproyectar”, 2014, Steel, mirrors, LED lights, Variable dimensions.
- John Mario Ortiz, “Deproyectar”, 2014, Steel, mirrors, LED lights, and paintings, Variable dimensions
- John Mario Ortiz, “Alzado”, 2014, Digital print, wood and varnish, 95 cm x 145 cm.
- John Mario Ortiz, “Proyección telúrica”, 2013, Millimeter paper, adhesive paper on wall, 160 cm x 340 cm
- John Mario Ortiz, “Teorema para la construcción de un paisaje técnico”, 2013, Series: Teorema para la construcción de un paisaje técnico, Wood, contrast screen, glass, millimeter paper, 70 cm x 120 cm x 75 cm
- John Mario Ortiz, “Teorema para la construcción de un paisaje técnico”, 2013, Series: Teorema para la construcción de un paisaje técnico, Wood, wood sheet, glass, millimeter paper, 70 cm x 120 cm x 75 cm
- John Mario Ortiz, “Horizonte-Teorema”, 2013, Wood, glass, millimeter paper, 80 cm x 540 cm x 50 cm
- John Mario Ortiz, “Rendering”, 2013, Steel, mirrors, LED lights, Variable dimensions.
- John Mario Ortiz, “Especulante”, 2012, Steel, mirrors, LED lights, Variable dimensions. Site-specific project. Location: Programa ALBO.Fundación EPM y MAMM, Sala de Arte Parque de los Deseos, Medellín, Colombia.
- John Mario Ortiz, “Reformas”, 2010, Lacquered wood, Variable dimensions. Site-specific project. Location: Casa Trespatios, Medellín, Colombia.
- John Mario Ortiz, “Spacing”, 2010, Animation, (4,44 mm), Variable dimensions.
- John Mario Ortiz, “Deslizamiento”, 2007, Corrugated zinc sheets, wood and two-channel video, Variable dimensions.
- John Mario Ortiz, “Enredadera”, 2005, Digital print on galvanized iron sheet, 200 cm x 300 cm
- John Mario Ortiz, “Trepadora”, 2005- 2013, 15.000 galvanized iron sheets and mono-channel video animation, Variable dimensions.
- John Mario Ortiz, “Reserva”, 2004, Galvanized iron mesh, galvanized iron sheets, galvanized and engraved iron pipes, 230 cm x 800 cm x 200 cm
Selected Biographical Information
Education / Training
- 2002-2007: Bachelor Architecture, Cooper Union for the Advancement of Science and Art, NYC, USA.
Solo Exhibitions
- 2013: “Financial Times“, Mary Boone Gallery, New York City, USA.
- 2013: “The Red and the Black“, Y Gallery, New York, USA.
Group Exhibitions
- 2013: “Neo Povera“, L&M Gallery, Los Angeles, USA.
- 2013: “Come Together: Surviving Sandy“, Dedalus Foundation, New York, USA.
- 2013: “Une Exibicion Sans Textes“, Jeu de Paume, Paris, France.
- 2013: “La Bienal: here is where we Jump“, El Museo del Barrio, New York City, USA.
- 2013: “Draft Urbanism“, Biennial of the Americas, Denver, USA.
Publications
- Nathlie Provosty, “In Conversation“, The Brooklyn Rail, February 2014, 2-5. (Article).
- Chloe Rosetti, “Financial Times“, Artforum, January 2014 (Article).
- Ann Binlot, “Graphic Design“, The Economist, January 17, 2014 (Article).
- Holland Cotter, “A Constellation of Identities“, The New York Times, 13/6/13 (Article).
- Thomas Mitchell, “Guilt Complex: Selling Painting by the Square Foot“, Hyperallergic, 1/6/13 (Article).
- G. T. Pellizzi, “Transitional Geometry in Blue (Cathedra) “, 2013, Eggshell acrylic on plywood, 144 x 544 x 12 cm.
- G. T. Pellizzi, “Conduits in Red Yellow and Blue (Figure 2)”, 2011, Porcelain, galvanized steel, copper wire, ceramic coated lightbulbs, , 92 x 122 x 15 cm.
- G. T. Pellizzi, “”Financial Times” (Diagram 3)”, 2013, Steel pipe, books on fiinance, 127 x 76 x 112 cm.
- G. T. Pellizzi, “Financial Times”, Graph (Figure 2)”, 2013, Powdered pigment and gesso on linen, 122 x 137 cm.
- G. T. Pellizzi, “”Financial Times”, Graph (Figure 3)”, 2013, Powdered pigment on linen, 183 x 46 cm.
- G. T. Pellizzi, “”Financial Times”, I Ching (hexagram 61)”, 2013, Encaustic and pigment on linen, 221 x 213 cm.
- G. T. Pellizzi, “Knot Abstraction #55 “, 2011, Oil enamel on steel, 69 x 46 cm.
- G. T. Pellizzi, “Constellation in Red (figure 1)”, 2013, Galvanized steel, copper wire, porcelain and ceramic coated lightbulbs., 244 x 376 x 15 cm.
- G. T. Pellizzi, “The Red and the Black”, 2013, The walls of the gallery were rebuilt in plywood and painted with red oil paint. the wall surfaces were sold by the square foot according to the realestate marked value of the gallery itself. buyers could choose what size and shape they wanted, these were progressively painted onto the walls in black oil paint, and cut out at the end of the exhibition, Variable dimensions.
- G. T. Pellizzi, “Primary Tryptich: Snap Lines in Red Yellow and Blue 1”, 2013, Encaustic and pigment on linen, 92 x 137 cm.
- G. T. Pellizzi, “Primary Tryptich: Snap Lines in Red Yellow and Blue 4”, 2013, Pigent and gesso on canvas, 92 x 168 cm.
- G. T. Pellizzi, “”Financial Times”, exhibition view”, 2014, Installation view at Mary Boone Gallery, Variable dimensions.
Translated from Spanish
As a visual artist, I have been interested in combining landscape photography with sculptural installation, in order to explore nature and the eruption of the invisible forces which exist within it. In this sense, I have discovered that elements such as wind, gravity, or temperature, can transform in tangible sensations. Using photographs of structures placed in the landscape, and their installation in a gallery, I am able to visualize the invisible and create a sculptural space between the object, the spectator, and the exhibition space.
Influenced by Minimalism and Land Art, my work seeks to move away from these traditions to be able to understand political notions of territory and its transcendence, install it in the gallery space, and in this way approach a continuum between nature and the white cube; landscape and its representation.
I live and work in Bogotá where I have a studio since more than 15 years ago, and I also work as professor of sculpture at the Universidad Nacional de Colombia (Colombia’s National University).
Como artista plástica, me he interesado en combinar la fotografía del paisaje y la instalación escultórica, para explorar la naturaleza y la erupción de las fuerzas invisibles que existen dentro de ella. En este sentido, he descubierto que los elementos como el viento, la gravedad, o la temperatura pueden convertirse en sensaciones tangibles, utilizando la fotografía de estructuras emplazadas en el paisaje, y la instalación de éstas estructuras dentro de la galería, para visualizar lo invisible y crear un espacio escultórico entre el objeto, el espectador y el espacio de exposición.
Influenciada por el Minimalismo y el Land Art, mi trabajo busca apartarse de estas tradiciones, para comprender nociones políticas del territorio y su trascendencia, e instaurarlo en el espacio de la galería y plantear de esta manera un continuum entre la naturaleza y el cubo blanco, el paisaje y su representación.
Vivo y trabajo en Bogotá, donde tengo mi estudio desde hace más de 15 años y también dicto clases como profesora de Escultura en la Universidad Nacional de Colombia.
Selected Biographical Information
Education / Training
- 1996-2007: Master in arts-Esculpture, Chelsea College of Art and Design, London, England.
- 1989-1994: Maestro en Artes Plásticas, Universidad de los Andes, Bogotá, Colombia.
Prizes / Fellowships
- 2012-2013: Beca de residencia artística, Latin America Roaming Artist, Asia City Trust, Honda, Colombia.
- 2012-2013: Beca de Creación, Ministerio de Cultura, Bogotá, Colombia.
- 2011-2012: Beca de creación, Facultad de Artes, Universidad Nacional de Colombia, Bogotá, Colombia.
- 2011-2012: Becaria del programa de residencias artísticas BANFF, BANFF Centre for the Arts – Ministerio de Cultura de Colombia, Banff, Canadá.
- 2010-2011: Beca de creación, Facultad de Artes, Universidad Nacional de Colombia, Bogotá, Colombia.
- 2008-2009: V Versión Premio Luis Caballero, Secretaría Distrital de Cultura, Bogotá, Colombia.
- 2008-2009: Beca de creación, Facultad de Artes, Universidad Nacional de Colombia, Bogotá, Colombia.
- 2006-2007: Apoyo para la producción del proyecto Abismo, American Center Foundation – 52 Bienal de Venecia, Venecia, Italia.
- 2006-2007: Becaria del programa de residencias artísticas, CAMAC, Art centre, Marnay Sur Seine, Francia.
- 2003: Mención de Honor , Salón Regional de Artistas, Bogotá, Colombia.
- 2002: Becaria del programa de residencias artísticas, Djerassi Resident Artist Program, Palo Alto, CA, USA.
- 2002: Marianne Palloti Fellowship Award, Djerassi Resident Artist Program, Palo Alto, CA, USA.
- 2000: Primer premio VII Bienal de Arte de Bogotá, Museo de Arte Moderno, Bogotá, Colombia.
- 1996-1997: Becaria del programa general de becas, Colfuturo, Bogotá, Colombia.
Solo Exhibitions
- 2014: “Acueductos“, Museo la Tertulia, Cali, Colombia.
- 2013: “Acueductos”, Museo de Arte Moderno, Barranquilla, Colombia.
- 2013: “Acueductos”, Museo de Arte Moderno de Barranquilla, Barranquilla, Colombia.
- 2012: “Geodesias”, Cámara de Comercio de Bogotá, Bogotá, Colombia.
- 2012: “La Anatomía del Paisaje”, Galería Casas Riegner, Bogotá, Colombia.
- 2010: “Lo Informe y el Límite”, Galaría Casas Riegner, Bogotá, Colombia .
- 2009: “359”, V Premio Luis Caballero, Galería Santa Fe, Planetario de Bogotá, Bogotá, Colombia.
- 2008: “Insufflare”, Galería Nara Roesler, Sao Paulo, Brasil.
- 2007: “Insufflare”, Atellier da Imagem, Rio de Janeiro, Brasil.
- 2006: “Sin Título- Obra invitada”, Colección de Arte, Banco De La República, Bogotá, Colombia.
- 2005: “Abismo”, Galería Casas Riegner, Bogotá, Colombia.
- 2001: “La Mirada del General”, Casa Museo Quinta de Bolivar, Bogotá, Colombia.
- 1998: “Series de Resurrección”, Galería Espacio Vacío, Bogotá, Colombia.
Group Exhibitions
- 2014: “Urbes Mutantes, Latin America Photography“, ICP (international center of photography), New York, USA.
- 2014: “Artbo art fair”, , Bogota, Colombia.
- 2013: “America Latina 1960- 2013”, Fondation Cartier Pour L´art Contemporain, Paris, France.
- 2013: “Urbes Mutantes”, Museo de Arte, Banco de la República, Bogotá, Colombia.
- 2013: “LARA Latin America Roaming Artist”, NC Arte, Bogotá, Colombia.
- 2012: “Essence of Place”, Galería Mummery + Shenelle, Londres, UK.
- 2012: “A Ciel Ouvert, Le Nouveau Pleinairisme”, Museo Nacional de Bellas Artes de Québeq, Québeq, Canadá.
- 2011: “La Cuarta Cordillera”, Galería Mor Charpentier, Paris, France.
- 2011: “El Enseñar como Arte”, Casa Republicana, Banco de la República, Bogotá, Colombia.
- 2009: “Sport, Cuadernos de Fútbol”, Museo de Arquitectura, Leopoldo Rother. Universidad Nacional de Colombia, Bogotá, Colombia.
- 2008: “Prix Pictet Award”, Palais de Tokio, Paris, France.
- 2007: “Piensa con los sentidos, siente con la mente”, 52 Bienal de Venecia, Palacio Arsenal, Venecia, Italia.
- 2005: “Un lugar en el mundo”, Salón Regional de Artistas, Tunja, Colombia.
- 2003: “II Encuentro Iberoamericano de Fotografia”, Museo de Arte Contemporáneo Sofia Imber, Caracas, Venezuela.
- 2000: “VII BIenal de Arte de Bogotá”, Museo de Arte Moderno, Bogotá, Colombia.
- 1996: “Nuevos Nombres”, Biblioteca Luis Angel Arango, Banco de la República, Bogotá, Colombia.
Publications
- Ángeles Alonso Espinosa, Hervé Chandès, Alexis Fabry, Isabelle Gaudefroy, Leanne Sacramone et Ilana Shamoon, America Latina 1960 – 2013 (Verona: Fondation Cartier Pour Lárt Contemporaine), 392.
- Alexis Fabry, María Wills, Urbes Mutantes (Barcelona: RM, Toluca), 534.
- Gutierrez Natalia, Mc Leod Scott, López Rosario, Un Atlas, La obra de Rosario López (Bogotá: Universidad Nacional de Colombia- Paralelo 10), 224.
- José Roca y Silvia Suarez, Transpolítico (Barcelona: Lunwerg – Paralelo 10), 194.
- Ivonne Pinni, “Rosario López, Reflexiones sobre lo escultórico”, Revista Art Nexus, Junio – Agosto 2008, 76-80.
- Scott Mc Leod, “Rosario López Portfolio”, Revista Prefix Photo, Diciembre 2008, Portada – 1 – 2 – 6 – 11 .
- Rosario López, “Dónde están los Objetos?”, Revista Extracámara, 1- 2000 , 38- 43.
Collections
- Colección Bergé, Madrid, España.
- Museo de Arte Moderno de Lima, Lima, Perú.
- Museo de Arte Moderno de Bogotá, Bogotá, Colombia.
- Colección de Arte del Banco de la República, Bogotá, Colombia.
Links
- Rosario López Parra, “Esquina Gorda #16”, 2000, Series: Serie Esquinas Gordas, Photography, 52 x 52 cm. Site-specific project. Location: VII Bienal de Arte de Bogotá, Museo de Arte Moderno, Bogotá, Colombia. Museo de Arte Moderno de Bogotá. Photo credit: Image courtesy of the artist.
- Rosario López Parra, “Esquina Gorda #14”, 2000, Series: Serie Esquinas Gordas, Photography, 52 x 52 cm. Site-specific project. Location: VII Bienal de Arte de Bogotá, Museo de Arte Moderno, Bogotá, Colombia. Museo de Arte Moderno de Bogotá. Photo credit: Image courtesy of the artist.
- Rosario López Parra, “White Fence, Instalación”, 2011, Wooden shelf, cotton bags full with lime, 210 x 900 x 45 cm. Colección de la artista, Bogotá. Photo credit: Image courtesy of the artist.
- Rosario López Parra, “Trampa de Viento # 28”, 2000, Series: Serie Trampas de Viento, C-Print, 110 x 130 cm. Site-specific project. Location: Chelsea College of Art, Knokke-Heist, Bélgica. Colección particular, Bogotá. Photo credit: Image courtesy of the artist.
- Rosario López Parra, “Trampa de Viento, Bombas”, 2003, Series: Serie Trampas de Viento, C-Print, 67 x 82 cm. Site-specific project. Location: Djerassi Resident Artist Program, Palo Alto, CA, USA. Colección particular, Bogotá. Photo credit: Image courtesy of the artist.
- Rosario López Parra, “Trampas de Viento”, 2003, Series: Serie Trampas de Viento, Plaster ballons and tin wire, Variable dimensions. Site-specific project. Location: Galería Diners, Bogotá, Colombia. Colección de la artista, Bogotá. Photo credit: Image courtesy of the artist.
- Rosario López Parra, “Abismo, Paracas 02”, 2005, Series: Serie Paracas, C-Print, 150 x 184 cm. Colección particular, Sao Paulo. Photo credit: Image courtesy of the artist.
- Rosario López Parra, “Abismo, Paracas 01”, 2005, Series: Serie Paracas, C-Print, 150 x 184 cm. Colección Bergé, Madrid. Photo credit: Image courtesy of the artist.
- Rosario López Parra, “Abismo, Casita”, 2007, Series: Abismo, Cottage made with juncus and photos, Variable dimensions. Site-specific project. Location: 52 Bienal de Venecia, Venecia, Italia. Colección Bergé, Madrid. Photo credit: Image courtesy of the artist.
- Rosario López Parra, “Insufflare, Romilli 01”, 2007, Series: Serie Romilli, C-Print, 110 x 150 cm. Site-specific project. Location: CAMAC, Art Centre, Marnay Sur Seine, Francia. Colección particular, Sao Paulo. Photo credit: Image courtesy of the artist.
- Rosario López Parra, “Insufflare, Romilli 03”, 2007, Series: Serie Romilli, C-Print, 110 x 150 cm. Site-specific project. Location: CAMAC, Art Centre, Marnay Sur Seine, Francia. Colección particular, Bogotá. Photo credit: Image courtesy of the artist.
- Rosario López Parra, “White Fence, 01”, 2008, Series: Serie White Fence, C-Print, 118 x 150 cm. Colección particular, Bogotá. Photo credit: Image courtesy of the artist.
- Rosario López Parra, “Lo Informe y el Límite, Doble Negativo”, 2010, Series: Doble Negativo, Plasticine, 7 x 7 x 7 cm. Colección particular, Bogotá. Photo credit: Oscar Monsalve.
- Rosario López Parra, “Lo Informe y el Límite, Poliedros”, 2010, Series: Poliedros, Laser cutting oN steel, 110 x 150 x 15 cm. Colección particular, Bogotá. Photo credit: Oscar Monsalve.
- Rosario López Parra, “Lo Informe y el Límite, Instalación”, 2010, Photos, Sculptures of plaster, plasticine and drawing on steel, Variable dimensions. Colección particular, Bogotá. Photo credit: Oscar Monsalve.
Somewhere or maybe everywhere … without script, perhaps like many others, restricted by a minimum budget or better yet, not thinking about budgets.
I choose to work from what I find, from that others have left. The image starts as a riddle formulated between the places I live, things and materials collected.
Someone observes from beyond. Maybe is a neighbor who sees me under the bridge collecting cans, or the gaze of that who finds those objects in an exhibition gallery, evoking what flows under the bridge. Both cases are for me acts of survival.
I try to synchronize myself with places, to hear what the material proposes and follow the way marked by the circumstances. The image is always provisional. It works, but barely, just enough.
I insist on a premise. I am aware that something magical could be happening.
En algún lugar o tal vez en todas partes… sin guiones, quizás como tantos otros, condicionado por un presupuesto mínimo o mejor aún, sin pensar en presupuestos.
Elijo trabajar desde lo encontrado, con lo que otros han dejado. La imagen se inicia como un acertijo que formulo entre los lugares que habito, las cosas y materiales recolectados.
Más allá, alguien observa. Tal vez un vecino que me ve bajo el puente recogiendo unas latas, o es la mirada de quien encuentra en una sala de exposición esos objetos evocando lo que corre bajo el puente. Ambos casos son para mí un acto de supervivencia.
Procuro afinarme con los espacios, escuchar lo que el material propone y seguir el rumbo que marcan las circunstancias. La imagen es siempre provisional. Funciona pero apenas, sólo lo justo.
Insisto en una premisa. Estoy atento de que algo mágico pueda estar ocurriendo.
Selected Biographical Information
Education / Training
- 2007-2014: BFA, Universidad Nacional de Tucumán, Facultad de Artes, Argentina.
- 2005-2006: La Guarda, with Ana María Benedetti.
- 2003: Provincia de Salta, Argentina, with Delmiro Barraza.
Solo Exhibitions
- 2013: “PASACALLE”, Rusia Galería, San Miguel de Tucumán, Argentina.
- 2012: “Herramientas para la construcción de un cielo nocturno”, La Puerta espacio de arte, San Miguel de Tucumán, Argentina.
- 2010: “Cerrar los ojos para ver”, Rusia Galería, San Miguel de Tucumán, Argentina.
- 2009:”Me tenés arto vieja hermosa”, El Árbol de Galeano, San Miguel de Tucumán, Argentina.
- 2008: “Un Puente”, Museo Arias Rengel, Salta capital, Argentina.
Group Exhibitions
- 2013: “Esta será nuestra casa”, Galerías Recientes, Eggo, Argentina
- 2013: “un día como cualquiera”, Casa del Bicentenario, San Miguel de Tucumán, Argentina.
- 2011-2009: “Taller abierto”, Taller “C”, San Miguel de Tucumán, Argentina.
- 2011: “Y andar liviano”, Salta y San Miguel de Tucumán, Argentina.
- 2010: “Líneas en acción”, Plaza de almas, San Miguel de Tucumán, Argentina.
- 2010: “Líneas”, Plaza de almas, San Miguel de Tucumán, Argentina.
Collections
- Sayago & Pardon, USA.
- Colección Carlos Casal, Tucumán, Argentina.
- Bernardo Corces, “S/T”, 2013, Series: Dibujos para un desconocido, Drawing in Chalk on sidewalk, 31.5 x 27.56 in. (80 x 70 cm), Site-specific project. Location: San Miguel de Tucumán, Argentina. Photo credit: Courtesy of the artist
- Bernardo Corces, “S/T”, 2013, Series: Dibujos para un desconocido, Drawing in Chalk on sidewalk, 78.74 x 47.24 in. (200 x 120 cm), Site-specific project. Location: San Miguel de Tucumán, Argentina. Photo credit: Courtesy of the artist
- Bernardo Corces, “S/T”, 2013, Series: Dibujos para un desconocido, Drawing in Chalk on sidewalk, 125.98 x 78.74 in. (320 x 200 cm), Site-specific project. Location: San Miguel de Tucumán, Argentina. Photo credit: Courtesy of the artist
- Bernardo Corces, “S/T”, 2013, Series: Dibujos para un desconocido, Drawing in Chalk on sidewalk, Site-specific project. Location: San Miguel de Tucumán, Argentina. Photo credit: Courtesy of the artist
- Bernardo Corces, “Hogera”, 2011, Series: Construcciones precarias, Built with branches and burned, 15.75 x 25.59 in. (40 x 65 cm). Photo credit: Courtesy of the artist
- Bernardo Corces, “Hojarasca”, 2011, Installation, leaves of tree on the corner of the wall, Variable dimensions, Site-specific project. Location: FAUNT San Miguel de Tucumán, Argentina. Photo credit: Courtesy of the artist
- Bernardo Corces, “S/T”, 2013, 7750.02 square inches (5 m2), Site-specific project. Location: San Miguel de Tucumán, Argentina. Photo credit: Courtesy of the artist
- Bernardo Corces, “Amanece”, 2013, Painting on modulated structure made from wood drawer, 9.84 x 59.06 in. (25 x 150 cm). Photo credit: Courtesy of the artist
- Bernardo Corces, “Manzana”, 2010, Series: Construcciones precarias, Object, 5.91 x 1.97 in. (15 x 5 cm). Photo credit: Courtesy of the artist
- Bernardo Corces, “Sauce, Fresno y Paraiso”, 2013, Series: Atados de ramas, Wood tied, 19.69 x 3.94 in. (50 x 10 cm). Photo credit: Rusia Galeria
- Bernardo Corces, “Epidermis”, 2009, Installation with billboards, 7750.02 square inches (5 m2), Site-specific project. Location: Rusia Galeria, San Miguel de Tucumán, Argentina. Photo credit: Rusia Galeria
- Bernardo Corces, “Pasacalle”, 2013, Mobil, light and sound installation, 7750.02 square inches (5 m2), Site-specific project. Location: Rusia Galeria, San Miguel de Tucumán, Argentina. Photo credit: Rusia Galeria
- Bernardo Corces, “Luminaria”, 2013, Series: Construcciones precarias, Light installation with bottles, in a human-powered vehicle, 47.24 x 27.56 x 94.49 in. (120 x 70 x 240 cm), Site-specific project. Location: Rusia Galeria, San Miguel de Tucumán, Argentina. Photo credit: Rusia Galeria
- Bernardo Corces, “Un cielo nocturno”, 2012, Series: Construcciones precarias, Installation, with stones, chair and lamp, 9300.02 square inches (6 m2), Site-specific project. Location: La Puerta, espacio de arte, San Miguel de Tucumán, Argentina. Photo credit: Courtesy of the artist
- Bernardo Corces, “Llovizna”, 2013, Series: Construcciones precarias, Action / Installation with ladder, buckets, wire netting and plastic bags filled with water, Variable dimensions, Site-specific project. Location: Rusia Galeria, San Miguel de Tucumán, Argentina. Photo credit: Rusia Galeria
Translated from Spanish
My artistic production in the last few years is the result of working in local contexts.
This is part of a personal position that is derived of questions around artistic representation, the incidence which creative processes have in specific groups and the way in which artists are involved in different realities.
My work seeks to create micro-windows that can reflect concepts such as violence, neglect, resistance, memory, collectivity, or identity.
Mi producción artística de los últimos años es resultado del trabajo en contextos locales.
Esto forma parte de una postura personal que se deriva de cuestionamientos entorno a la representación artística, la incidencia que los procesos creativos tienen en grupos específicos y la manera en que los artistas se involucran con distintas realidades.
Mi trabajo busca crear micro ventanas que reflejen conceptos como violencia, abandono, resistencia, memoria, colectividad o identidad.
Selected Biographical Information
Education / Training
- 2010-2006: BFA, Escuela Nacional de Pintura, Escultura y Grabado, “La Esmeralda”, México DF, México.
Prizes / Fellowships
- 2009-2010: FOCAEM, Programa de Estímulo a la Creación y Desarrollo Artístico del Estado de México, Instituto Mexiquense de Cultura – CONACULTA, Toluca, Estado de México, México.
- 2010-2011: PADID, Programa de Apoyo a la Docencia, Investigación y difusión de las artes, CONACULTA, México DF, México.
- 2013: Primera edición del Laboratorio La Quiñonera, La Quiñonera, México DF, México.
- 2013: FOCAEM, Programa de Estímulo a la Creación y Desarrollo Artístico del Estado de México, Instituto Mexiquense de Cultura – CONACULTA, Toluca, Estado de México, México.
Solo Exhibitions
- 2011: “Bajo el rebozo”, Museo de Arte Moderno, Toluca Edo. Mex., México.
- 2012: “Entre tramas y urdimbres”, Casa de Engracia, Zacatecas, Zacatecas, México.
Group Exhibitions
- 2013: “Vacío contenido”, Escuela Nacional de Pintura, Escultura y Grabado, “La Esmeralda”, México DF, México.
- 2013: “Extraño familiar”, La Quiñonera, México DF, México.
- 2013: “Casa de Engracia, espacio libre de violencia, XXVII Festival Cultural de Zacatecas”, Casa de Engracia, Zacatecas, Zacatecas, México.
- 2012: “Arte 40”, Ciudadela, Ciudad de los libros, México, DF, México.
Links
- Georgina Santos, “33 Acteal inoxidable”, 2008, Found shoes, wood and stainless steel, Variable dimensions. Photo credit: Image courtesy of the artist.
- Georgina Santos, “Adentros”, 2011, Shawls, stones and skeins of yarn, Variable dimensions. Photo credit: Image courtesy of the artist.
- Georgina Santos, “Otra vez la desidia”, 2012, Moth-eaten wool woven and wood, Variable dimensions. Photo credit: Image courtesy of the artist.
- Georgina Santos, “Reflejo de ausencia y espera”, 2012, Wooden rings woven with cotton thread, Variable dimensions. Photo credit: Image courtesy of the artist.
- Georgina Santos, “Diálogos “, 2012, Chairs with woven wool yarn and stones, Variable dimensions. Photo credit: Image courtesy of the artist.
My work responds to an inquiry, obsession, fascination, and pleasure for the structures, assemblages and dynamics that evidence the state of transitivity and precariousness that appeal to a state of temporal indetermination. The works are located on the limit of their completion and resting in a residual plane. The works—installations, sculptures, drawings and photographs—are characterized by notions of scale, volume, weight, gravity, surface, pressure, contention, resistance, verticality, horizontality, limit and depth, creating an intimate relation with the space, architecture, the spectator’s body and the temporality of the exhibition and the pieces.
The works transform, determine, modify, and interfere in the physical space in which they operate as well as the social, political, economic and historical space they inhabit and its possible modes of production, exhibition and circulation.
My work has an interest for allegorical procedures, link to the fragment, the ruin, history, memory, identity and the city. These concepts are articulated with the inquiry on the construction process, provisional, precarious, transitory, and unstable structures.
Mi trabajo responde a una investigación, obsesión, fascinación y placer por las estructuras, ensamblajes y dinámicas que evidencian estados de transitoriedad y precariedad. Situados en el límite de un estado de finalización y un plano residual. Mediante instalaciones, esculturas, dibujos y fotografías, las obras desarrolladas se caracterizan por nociones de escala, volumen, peso, gravedad, superficie, presión, contención, resistencia vertical, horizontal, límite y profundidad, generando una íntima relación con el espacio, la arquitectura, el cuerpo del espectador y la temporalidad de las piezas y de su exhibición.
Las obras operan en el espacio físico transformándolo, determinándolo, modificándolo e interfiriendo; los efectos producidos por las obras en lo físico resuenan con los espacios sociales, políticos, económicos e históricos en los que residen y se posibilita la producción, exposición y circulación de la obras.
Mi trabajo parte del interés por procedimientos alegóricos, vinculados al fragmento, la ruina, la historia, memoria, identidad y la ciudad. Estos conceptos se articulan con la reflexión sobre los procesos constructivos, estructuras provisionales, precarias, transitorias e inestables.
Selected Biographical Information
Education / Training
- 2004-2009: Bachelor of Fine Arts, with emphasis in Visual Arts, art theory and history, Universidad de los Andes, Bogotá, Colombia.
- 2007-2008: Academic exchange program, Universidad de São Paulo, Escuela de Comunicações e Arte, São Paulo, Brasil.
Prizes / Fellowships
- 2008-2009: Scolarship Uniandinos for academic excellens (received at the Bacherlor degree), Uniandinos, Bogotá , Colombia.
- 2007-2008: Scolarship Uniandinos for academic excellens (received at the Bacherlor degree) , Uniandinos, Bogotá , Colombia.
Solo Exhibitions
- 2012: “El año pasado (Last Year)“, Galería Valenzuela Klenner, Bogotá, Colombia.
- 2009: “Acervo“, Project room Universidad de los Andes, Bogotá, Colombia.
- 2006: “Art IN Theory“, Project room Universidad de los Andes, Bogotá, Colombia.
Group Exhibitions
- 2013: “Desequilibrio y movilidad, Nuevos nombres (Unstable and movement, New Names)“, Museo del Banco de la República, Bogotá, Colombia.
- 2013: “Horizontal, 43 Salón (Inter)nacional de Artistas, Ministerio de Cultura“, Museo de Antioquia, Medellín, Colombia.
- 2013: “Amalgamas“, Cámara de Comercio, Bogotá, Colombia.
- 2013: “Horizontal“, Galería La Central, Bogotá, Colombia.
- 2012: “Panel“, Arte Cámara, Cámara de comercio ArtBo, Bogotá, Colombia.
- 2012: “Fundición“, La Otra, Bogotá, Colombia.
- 2011: “Suamox“, Bogotá, Colombia.
- 2011: “Omnívoro (DELENGUAAMANO)“, http://www.santiago-reyes.com/
en/suamox-2011/, Bogotá, Colombia. - 2009: “Monumetría (DELENGUAAMANO)“, Pinacoteca do Estado de São Paulo, São Paulo, Brazil.
- 2008: “Art IN Theory XXI Salón Nacional de Artistas, Ministerio de Cultura“, XXI Salón Nacional de Artistas, Ministerio de Cultura, Cali, Colombia.
Publications
- Gilberto Mariotti, Néstor Gutiérrez, Santiago Reyes Villaveces, Monumetria (Sao Paulo : Pinacoteca do estado de Sao Paulo).
- Julia Buenaventura, “Delenguaamano-Collective “, ArtNexus #73 , Jun/Aug 2009.
Collections
- Sayago & Pardon, California, USA.
Links
- Santiago Reyes Villaveces, “Llanta de carga 29.5 x 29”, 2013, Graphite on tire and wooden wedge, 200cm Ø x 200cm Ø x 80cm. Site-specific project. Location: Museo del Banco de la República, Bogotá, Colombia. colección del artista. Photo credit: Jairo Llano.
- Santiago Reyes Villaveces, “Llanta de carga 35 65–33”, 2013, Graphite on tire and wooden structure, 220cm Ø x 90cm x Sección transversal 500cm x 10cm x 5cm. Colección del artista. Photo credit: Jairo Llano.
- Santiago Reyes Villaveces, “Horizontal”, 2013, Graphite on wood and wooden wedge, 20cm x 470cm x 20cm. Site-specific project. Location: Museo de Antioquía, Médellin, Colombia. Photo credit: Jairo Llano.
- Santiago Reyes Villaveces, “Vértigo”, 2012, Series: 1/3+PA, Photographic print on cotton paper, 85cm x 60 cm. Photo credit: Jairo Llano.
- Santiago Reyes Villaveces, “Panel (díptico)”, 2012, Drawing on paper (diptych), 244cm x 110cm. Colección del artista. Photo credit: Image courtesy of the artist
- Santiago Reyes Villaveces, “Staff”, 2013, Graphite drawing on paper coiled in threaded rod, 350cm Ø 5cm threaded rod x 100cm drawing x 100cm drawing cm. Photo credit: Jairo Llano.
- Santiago Reyes Villaveces, “One-way direction”, 2013, Graphite on wood, bearing and wedges , 250cm x 20cm x 300cm. Photo credit: Jairo Llano.
- Santiago Reyes Villaveces, “Frame”, 2012, Graphite on wood, 190cm x 15cm x 3cm
- Santiago Reyes Villaveces, “Vara”, 2012, Graphite on aluminum, 300cm x ø 3.75cm, ø 3.75cm, ø 2.5cm. Sayago & Pardon Collection. Photo credit: Jairo Llano.
- Santiago Reyes Villaveces, “Ventana”, 2012, Graphite on wood and hinges, 150cm x 15cm x 3cm. Sayago & Pardon Collection. Photo credit: Jairo Llano.
- Santiago Reyes Villaveces, “Aro”, 2012, Installation of bearings of different sizes, Variable dimensions. Colección del artista. Photo credit: Jairo Llano.
- Santiago Reyes Villaveces, “Panel (diptych)”, 2012, Series: 1/3, Graphite on paper, 100cm e/o x 70cm e/o. Photo credit: Jairo Llano.
- Santiago Reyes Villaveces, “Pipe”, 2012, Graphite on cardboard, 80cm x 60cm. Photo credit: Jairo Llano.
- Santiago Reyes Villaveces, “Hinge”, 2013, Series: 1/3, Graphite on paper and hinge, 155cm x 15cm
- Santiago Reyes Villaveces, “Aerolito (diptych)”, 2012, Graphite on paper, 100cm e/o x 70cm e/o
Translated from Portuguese
My artistic trajectory is characterized by the developing and practice of urban interventions, where I experienced and used the city as support of action, analysis, and inspiration in my work. After this experience, I began a new body of work in which all my research on urban intervention transformed into an aesthetic and conceptual reference for a work developed at my studio, which is currently dedicated to tridimensional work.
My works are made from the repurposing of discarded materials by construction companies, and through the creative use of techniques from construction as well, I recreate forms of reinforced concrete that lose their structural function to create architectural drawings in space, contrasting the rigidity and rawness of their materials to give a false sense of lightness through its curves and turns. Apart from emphasizing contrasts between materiality and flexibility, the work brings forth the marks from past lives of the materials, thus the traces of a city that is in constant motion.
Minha trajetória artística é marcada pelo desenvolvimento e prática de intervenções urbanas, onde vivenciei e utilizei da cidade como suporte de atuação, reflexão e inspiração para meus trabalhos. Após esta experiência, iniciei uma nova produção, onde toda minha pesquisa até então realizada sobre intervenção urbana se transformou em referência estética e conceitual para um trabalho desenvolvido em atelier, atualmente dedicado à área tridimensional.
Minhas obras são feitas apartir do reaproveitamento de materiais descartados por construtoras e, através do uso imaginativo de técnicas também provenientes da construção civil, recrio formas de concreto armado que perdem sua usual função estrutural para criar desenhos arquitetônicos no espaço, contrapondo à rigidez e brutalidade de seus materiais a uma falsa sensação de leveza criada por suas curvas e balanços. Além de se caracterizar pelos contrapontos entre sua matéria e a flexibilidade adquirida, o trabalho traz consigo marcas das vidas passadas de seus materiais, consequentemente rastros de uma cidade que se encontra em constante movimento.
Selected Biographical Information
Education / Training
- 2006-2008: Research group – Arts and technological resources, FASM -Faculdade Santa Marcelica, São Paulo, Brazil.
- 2000-2006: Bachelor’s degree in visual arts, FAAP university – Fundação Armando Alvares Penteado, São Paulo, Brazil.
Prizes / Fellowships
- 2013: Program of exhibition, Paço das Artes, São Paulo, Brazil.
- 2013: FUNARTE Prize 2013, FUNARTE, Brasília – DF, Brazil.
- 2013: Espaço Galeria -SESI, SESI, São Paulo, Brazil.
- 2011: Salão dos artistas sem galeria, , São Paulo, Brazil.
- 2012: Artistc residence, MAMAM – Museun Aloisio Magalhaes de Arte Moderna, Recife – PE, Brazil.
Solo Exhibitions
- 2013: “Tenho um bom conhecimento sobre bolhas e respingo, porém informal”, Museu da Sustentabilidade (Museun), São Paulo, Brazil.
- 2013: “Desdobramentos Infiltrórios”, FUNARTE – Brasília (Museun), Brasília – DF, Brazil.
- 2013: “Ramificações do objeto como contrapartida”, SESI (institution), São Paulo, Brazil.
- 2013: “Entre o céu e a terra, bolhas!”, Paço das Artes (Museun), São Paulo, Brazil.
- 2013: “Interiorização”, SESC ( institution), Niterói – RJ, Brazil.
- 2013: “Daquele que se reproduz”, Galeria Pilar (gallery), São Paulo, Brazil.
- 2012: “Mirante”, MAG (Museun), Goiânia -GO, Brazil.
- 2012: “Ponto pra fuga”, MAMAM no Pátio, Recife – PE, Brazil.
- 2011: “Exame de solo laboratorial”, Fundação Cultural Criciúma (institution), Criciúma – SC, Brazil.
- 2011: “Pinturas Infiltrórias e suas ramificações tubulares”, UNESC (institution), Criciúma – SC, Brazil.
Group Exhibitions
- 2014: “2013_ 18th International Festival of Contemporary Art –Videobrasil “, SESC Pompeia (institution), São Paulo, Brazil.
- 2014: “XI Biennial of Visual Arts of Recôncavo”.
- 2013: “Artistas da galeria”, Galeria Pilar (gallery), São Paulo, Brazil.
- Rodrigo Sassi, “A camera se desloca procurando uma segunda intenção”, 2013, Wood and concrete , 300 x 280 x 360 cm.
- Rodrigo Sassi, “Entre o céu e a terra, bolhas!”, 2013, Wood, concrete and steel cable, 300 x 450 x 450 cm.
- Rodrigo Sassi, “Daquele que se reproduz”, 2013, Wood and concrete , 240 x 500 x 270 cm. Site-specific project. Location: Galeria Pilar, São Paulo, Brazil.
- Rodrigo Sassi, “Ponto pra fuga”, 2012, Wood and concrete , 220 x 800 x 320 cm. Site-specific project. Location: MAMAM no Patio , Recife, Brazil.
- Rodrigo Sassi, “Flores de Caterina”, 2012, Wood and concrete , 30 x 95 x 200 cm.
- Rodrigo Sassi, “Perspectiva naval”, 2012, Wood and concrete , 200 x 360 x 120 cm.
- Rodrigo Sassi, “Esquina de lá # maior”, 2011, Wood and concrete , 220 x 450 x 160 cm.
- Rodrigo Sassi, “O escudoe o dragão”, 2013, Wood, concrete and glass, 140 x 250 x 500 cm.
- Rodrigo Sassi, “Não tão grande quanto o respingo original”, 2013, Wood, concrete and metal, 210 x 205 x 170 cm.
- Rodrigo Sassi, “EXP T 04”, 2012, Wood and concrete , 200 x 160 x 75 cm. SESI.
- Rodrigo Sassi, “Capsular e o anexo sem título”, 2013, Wood and concrete , 200 x 140 x 90 cm.
- Rodrigo Sassi, “EXP T 03”, 2011, Wood and concrete , 310 x 165 x 100 cm.
- Rodrigo Sassi, “Rearranjo de Caterina”, 2013, Wood, concrete and firefighter hose, 200 x 160 x 40 cm.
- Rodrigo Sassi, “Pingueira”, 2012, Wood and concrete , 190 x 75 x 35 cm.
- Rodrigo Sassi, “Tripartite”, 2012, Wood and concrete , 190 x 105 x 20 cm.
Translated from Spanish
In about ten years of professional experience, I have been interested in different transcultural processes from which I intend to build paragons between the local knowledge of my Colombian context and how these face each other, validate, or are opposed to foreign cultural discourses and production.
In this period of time I have focused on developing projects in which I can combine my interests in installation, sculpture, and video, and how these artistic mediums can (and must) be understood contextually. I find pertinent to mention that I am drawn to recognize and study the breaks I find in artistic and cultural discourses as in the information that originates from different contexts as mine. Following this line of thought, I remember constantly Brazilian Oswaldo de Andrade and his ideas about “anthropophagy,” since we constantly devour what belongs to someone else so we can produce something new.
Durante algo más de diez años de ejercicio profesional, he estado interesado en diversos procesos transculturales con los cuales pretendo construir parangones entre los saberes locales de mi contexto colombiano y cómo estos se enfrentan, validan u oponen a discursos y producciones culturales foráneas.
En este período de tiempo me he concentrado en desarrollar proyectos en los que puedo combinar mis intereses en la instalación, la escultura y vídeo, y cómo estos términos artísticos pueden (y deben) ser entendidos contextualmente. Me parece pertinente mencionar que me siento muy atraído por reconocer y estudiar las fisuras que encuentro tanto en los discursos artísticos y culturales como en la información que proviene de contextos diferentes al propio. En este orden de ideas, recuerdo constantemente al brasilero Oswaldo de Andrade y sus ideas sobre la “antropofagia”, pues constantemente devoramos lo que es ajeno para producir algo nuevo.
Selected Biographical Information
Education / Training
- 2007-2005: Master in Fine Arts, Pratt Institute, Brooklyn, USA.
- 2001-1996: Maestro en Artes Plásticas, Universidad de los Andes, Bogotá, Colombia.
Prizes / Fellowships
- 2013: Premio LARA 2012, Asiaciti Trust, Singapore, Singapore.
- 2011: Beca de creación en arte digital y arte para la red para: proyectocooperativa.org, Ministerio de Cultura, Bogotá, Colombia.
- 2010: Beca de investigación curatorial, 14 Salones Regionales de Artistas Zona Centro (proyecto la cooperativa), Ministerio de Cultura, Bogotá, Colombia.
- 2007: Honors Degree, Pratt Institute, Brooklyn, USA.
- 2007-2005: Fulbright Fellowship Recipient, Fulbright / Ministerio de Cultura, Colombia, Bogotá, Colombia.
- 2004: Tercer premio. XII Salón Nacional de Artistas Jóvenes. Galería Santafe., Instituto Distrital de Cultura y Turismo – IDCT, Bogotá, Colombia.
- 2003: Tercer premio. Salón de Arte Bidimensional, Fundación Gilberto Alzate Avendaño, Bogotá, Colombia.
- 2002: Primer premio. V muestra Distrital de Artes Plásticas. , Instituto Distrital de Cultura y Turismo – IDCT, Bogotá, Colombia.
- 2002: Magna Cum Laude, Universidad de los Andes, Bogotá, Colombia.
- 2002: Grado con honores, Universidad de los Andes, Bogotá, Colombia.
Solo Exhibitions
- 2013: “Elementos para una unidad colectiva“, Galería LA CENTRAL, Bogotá, Colombia.
- 2010: “Pasado Tiempo Futuro“, Galería Nueveochenta, Bogotá, Colombia.
- 2008: “Instituto de visión“, Galería Nueveochenta, Bogotá, Colombia.
- 2008: “Void“, (proyecto en colaboración con Mónica Páez). Magnan Emrich Contemporary, Nueva York, USA.
- 2007: “Loosing“, Steuben Hall Gallery, Pratt Institute, Brooklyn, USA.
- 2005: “Suspendido“, Galería Casas Riegner, Bogotá, Colombia.
Group Exhibitions
- 2013: “Saberdesconocer “, 43 Salón (inter) Nacional de Artistas, Medellín, Colombia.
- 2013: “The Past is Present “, MOCAD, Detroit, USA.
- 2013: “LARA 2012“, NC-arte, Bogotá, Colombia.
- 2013: “Horizontal”, LA CENTRAL, Bogotá, Colombia.
- 2012: “When Attitudes Became Form Become Attitudes“, CCA Wattis Institute for Contemporary Arts, San Francisco, CA, USA.
- 2012: “Imaginary Homelands“, Art Gallery of York University (AGYU), Toronto, Canada.
- 2011: “Sobre el Territorio: Arte Contemporáneo en Colombia“, Santral, Istambul, Turkey.
- 2010: “Histórias de Mapas, Piratas e Tesouros“, Centro Itaú Cultural, São Paulo, Brazil.
Publications
- José Roca y Sylvia Suárez, Transpolítico: Arte en Colombia 1992-2012 (Bogotá: J.P Morgan, Paralelo 10, Lunwerg Editores), 2.
- Diego Garzón, De lo que somos. 110 obras para acercarse al arte contemporáneo colombiano (Madrid: Lunwerg Editores), 2.
Collections
- Kadist Foundation, San Francisco, USA.
- Banco de la República, Colombia, Bogotá, Colombia.
Links
- Nicolás Consuegra, “Aquí y allá”, 2012, Glass and tinplate, Variable dimensions. Photo credit: Image courtesy of the artist
- Nicolás Consuegra, “Noche (después de Ziraldo) y Día”, 2012, Series: 3, Steel, 170 x 120 x 2.5 cm. Banco de la República, Colombia. Photo credit: Image courtesy of the artist
- Nicolás Consuegra, “Algunos dañados, otros funcionan (detail)”, 2011, MDF, quintuplex, glass and mirror, Variable dimensions. Private collection, Colombia. Photo credit: Image courtesy of the artist
- Nicolás Consuegra, “Algunos dañados, otros funcionan (detail view of the back of the piece)”, 2011, MDF, quintuplex, glass and mirror, Variable dimensions. Private collection. Photo credit: Image courtesy of the artist
- Nicolás Consuegra, “Cartografía Textual”, 2009, Offset print, 90 x 125 cm. Photo credit: Image courtesy of the artist
- Nicolás Consuegra, “Celeste”, 2008, HD animation, (loop), Variable dimensions. Private collection. Photo credit: Image courtesy of the artist
- Nicolás Consuegra (en colaboracion con Monica Paez), “Void”, 2008, Mirrors on wall, Variable dimensions. Photo credit: Image courtesy of the artist
- Nicolás Consuegra, “Sin título (campos de color)”, 2006, Offset print without lithographic plate, 50 x 35 cm. Photo credit: Image courtesy of the artist
- Nicolás Consuegra, “I miss you”, 2005, Giclée print on paper (conservation). Photo documentation of intervention with gum on streets in Brooklyn, NY, 134 x 100 cm. Photo credit: Image courtesy of the artist
- Nicolás Consuegra, “Sin título (mantel rojo)”, 2004, Oil on glass, 90 x 150 cm. Photo credit: Image courtesy of the artist
- Nicolás Consuegra, “Sin título (bailarina). “, 2004, Oil and silver coating on glass, 100 x 70 cm. Photo credit: Image courtesy of the artist
- Nicolás Consuegra, “Monumentos Mínimos (después de Dan Flavin)”, 2003, Ultra light cigarettes on wall, Variable dimensions. Site-specific project. Location: Kent explora tus sentidos (curaduría de Jaime Cerón), Bogotá, Colombia.
- Nicolás Consuegra, “Monumentos Mínimos (después de Dan Flavin), vista general”, 2003, Ultra light cigarettes on wall, Variable dimensions. Site-specific project. Location: Kent explora tus sentidos. Curaduría Jaime Cerón, Bogotá, Colombia. Photo credit: image courtesy of the artist.
- Nicolás Consuegra, “Sin título (gorros Marlboro). Del proyecto “Traslaciones””, 2002, Replica of caps made with boxes of Marlboro cigarettes manufactured by vendors. These caps were reproduced without any commercial information, Variable dimensions. Photo credit: Image courtesy of the artist
- Nicolás Consuegra, “Sin título”, 2002, Intervention with luminescent red paint on the wall (paint reflects a red halo on the white wall). From the project “Traslaciones”, Variable dimensions. Site-specific project. Location: Galería Valenzuela y Klenner, Bogotá, Colombia. Photo credit: Image courtesy of the artist
Translated from Spanish
In my work, I use textiles—basically clothing—in order to explore a series of social and personal stereotypes, as well as their relationship with specific cultural codes, by reviewing and reflecting on the current and complex normative structures which define us and from which we participate. A great part of my work involves an analysis on the physical, emotional and social restrictions that are associated with gender roles, in particular feminine stereotypes. With my work, I do not only play with the material and formal possibilities of textile, but I also explore the aesthetic, symbolic, and cultural values of garments, based on deconstruction, re-contextualization or re-aggrupation models which put in evidence the social expectations that they intend to exhibit or cover. Thus I want to make visible the complex and often contradictory relationships we have constructed between the social and the individual, protection and image, beauty and comfort, violence and indifference, men and women, and all the ambiguous intermediate qualities which constitute us but do not necessarily define us.
En mi trabajo uso textiles—básicamente ropa—para explorar una serie de estereotipos sociales y personales, así como su relación con ciertos códigos culturales, revisando y reflejando las complejas estructuras normativas actuales que nos definen y en la que todos participamos. Gran parte de mi obra implica una reflexión sobre las restricciones físicas, emocionales y sociales asociadas a roles de género, particularmente a los estereotipos femeninos. Con mis piezas no sólo juego con las posibilidades materiales y formales de los textiles, sino que exploro los valores estéticos, simbólicos y culturales de las prendas de vestir, basándome en procesos de deconstrucción, recontextualización o reagrupación que evidencian las expectativas sociales que intentan exhibir, o cubrir. Quiero evidenciar así las complejas, y a veces contradictorias, relaciones que hemos creado entre lo social y lo individual, la protección y la imagen, la belleza y la comodidad, la violencia y la indiferencia, los hombres y mujeres, y todas las ambiguas cualidades intermedias que sutilmente nos forman sin necesariamente definirnos.
Selected Biographical Information
Education / Training
- 2010-2013: Doctorado en Educación Artística, Universidad de Concordia, Montreal, Quebec, Canada.
- 2001-1999: MFA en Artes Visuales (Nuevos Géneros), San Francisco Art Institute, San Francisco, California, USA.
- 1999-1998: MA en Artes Visuales (Medios Combinados), Chelsea School of Art and Design, Londres, UK.
- 1997-1992: Licenciatura en Artes Visuales, Escuela Nacional de Artes Plásticas, UNAM, México DF, México.
Prizes / Fellowships
- 2013: Bourse de doctorat en recherche pour étudiants étrangers, FRQSC (The Fonds de recherche du Québec – Société et culture), Montreal, Quebec, Canada.
- 2013-2012: Sistema Nacional de Creadores de Arte (Medios Alternativos), FONCA, Conaculta, México DF, México.
- 2013-2012: Power Corporation of Canada Graduate Fellowship, Universidad de Concordia, Montreal, Quebec, Canada.
- 2012-2010: Beca para estudios en el extranjero, Jumex, México DF, México.
- 2013-2010: International Tuition Fee Remission Award, Universidad de Concordia, Montreal, Quebec, Canada.
- 2010-2008: Sistema Nacional de Creadores de Arte, FONCA, Conaculta, México DF, México.
- 2006: Fomento a Proyectos y Coinversiones Culturales, FONCA, Conaculta, México DF, México.
- 2003: Jóvenes Creadores (Escultura), FONCA, Conaculta, México DF, México.
- 1999-2001: Fulbright-García Robles, SFAI, San Francisco, California, USA.
- 1999-1998: Beca para estudios en el extranjero, FONCA, Conaculta, México DF, México.
Solo Exhibitions
- 2013: “Tendencias Incómodas (Exposición electrónica)“, Museo de Mujeres Artistas Mexicanas (www.museodemujeres.com), México DF, México.
- 2013: “Threads, Trends and Threats“, Maison de la culture de Notre-Dame-de-Grâce, Montreal, Quebec, Canada.
- 2012: “Abiertas/Open“, Galería FOFA, Universidad de Concordia, Montreal, Quebec, Canada.
- 2011: “Affaires Domestiques“, Espacio México (Consulado de México en Quebec), Montreal, Quebec, Canada.
- 2008: “Despuntadas”, Kunsthaus Santa Fé y Galería Hermenegildo Bustos, San Miguel de Allende, Guanajuato, México.
- 2008: “Tela de donde cortar“, Museo del Chopo en el metro , México DF, México.
- 2007: “Me visto, por lo tanto existo”, Museo de la Indumentaria, UCSJ, México DF, México.
- 2003: “Trapitos al sol”, Vitrinas, México DF, México.
- 2001: “Introductions’01“, Galería Paule Anglim, San Francisco, California, USA.
- 2001: “Shirts”, Galería Diego Rivera, SFAI, San Francisco, California, USA.
Group Exhibitions
- 2014: “Déplacé (Performance)”, Art Souterrain, Nuit Blanche, Montreal, Quebec, Canada.
- 2013: “La Fuerza Domesticadora de lo Pequeño“, Kunsthaus Santa Fé, San Miguel de Allende, Guanajuato, México.
- 2012: “100 Curators Collection“, Saatchi Online, UK.
- 2012: “Housework, Gender and Subjectivity“, Reynolds Gallery, University of the Pacific, Stockton, California, USA.
- 2012: “Parasites“, Art Souterrain, Nuit Blanche, Montreal, Quebec, Canada.
- 2012: “Unravelling Threads“, firstsite gallery, Colchester, UK.
- 2011: “Liminal Takes“, Root Division, San Francisco, California, USA.
- 2010: “Superficies del deseo“, MUAC, UNAM, México DF, México.
- 2010: “Tela que cortar“, CELARG, Caracas, Venezuela.
- 2010: “MAMAZ”, Mexican American Cultural Center, Austin, Texas, USA.
- 2010: “Defecto común/identidades en disolución“, Museo del Chopo, México DF, México.
- 2009: “Hecho en casa“, Museo de Arte Moderno, México DF, México.
- 2009: “20 años FONCA 1989/2009“, Biblioteca Vasconcelos, México DF, México.
- 2009: “Sin Centenario ni Bicentenario“, Universidad Iberoamericana, México DF, México.
- 2009: “2a Bienal de arte contemporáneo de Tesalónica“, Museo de Arqueología, Tesalónica, Greece.
- 2008: “Echando flores“, CELARG, Caracas, Venezuela.
- 2008: “Mama´s Art“, Geborgen Kamers, Amsterdam, The Netherlands.
- 2008: “ES2008TIJUANA, V Bienal internacional de Estandartes“, CECUT, Tijuana, México.
- 2007: “3er encuentro de arte del cuerpo”, Galería de Arte Nacional, Caracas, Venezuela.
- 2006: “Altares de muertos”, Muros, Cuernavaca, México.
- 2005: “Nostalgia of the Body“, Firstsite gallery, Colchester, UK.
- 2004: “Segunda Bienal de Yucatán”, Museo de arte moderno, Mérida, Yucatán, México.
- 2004: “An Ambiguous Understanding“, Galería de la Trobe University, Victoria, Australia.
- 2003: “Aparentemente sublime“, Museo de Arte Moderno, México DF, México.
- 2002: “PR’02 (Bienal de Puerto Rico)”, Flexible Packaging Group, Bayamón, Puerto Rico.
Publications
- PAVELA, Ana Maria (2013), “Vingt femmes“, montrealserai.com, July 2nd, 2013.
- EZCURRA, María, “(Un)Dressing Art: Towards a New Feminist Pedagogy of Fashion”, Canadian Art Teacher , 2012.
- MONTERO, Daniel, “María Ezcurra”, Código DF. Arte y cultura contemporáneos desde la Cd. de México, 2010.
- MAYER, Mónica, “Un breve testimonio sobre los ires y venires del arte feminista en México“, Debate feminista, Número 40, Octubre 2009.
- AGUILAR, Guadalupe, “El Arte Participativo. La participación como estrategia creativa en la instalación, el arte de acción y el arte público”, Editorial Universidad Politécnica de Valencia, 2010.
- BERLANGA, Jessica, “8 nuevos artistas desde América Latina: María Ezcurra”, Revista Código 06140, Abril 2009.
- DE LA ROSA, Vic, “Maria Ezcurra: Wear to Art“, FiberArts, Vol. 35, No. 4, Enero-Feb. 2009.
- MOLINA, Carlos, “María Ezcurra en la UCSJ”, ArtNexus No. 67, 2007.
- ELIZALDE, Lydia, “Ficciones Plásticas“, Inventio, UAEM, Año 2 Núm 4, Septiembre 2006.
- MOLINA, Carlos, “Focus: New donations from Mexican artists”, UECLAA Report, Otoño 2004.
- SPRINGER, José Manuel, “IX Salón de arte Bancomer”, Réplica 21, 2003.
- SCHMELZ Herner, Itala, “XX. Reflexionar la violencia”, Curare, primavera 1997.
- REYES Palma, Francisco, “Artefactos del futuro”, Curare, 1995.
Collections
- Hirshhorn Museum and Sculpture Garden, Smithsonian, Washington, D.C., USA.
- Escala (Essex Collection of Art from Latin America), Colchester , UK.
- Museo de Arte Moderno, México DF, México.
- MUAC, UNAM, México DF, México.
- Kunsthaus Santa Fé, Espacio de Arte contemporáneo, San Miguel de Allende, Guanajuato, México.
Links
- Pueg, UNAM
- APT Global
- Fofa Gallery
- Vimeo
- Vimeo
- “Tendencias incómodas” en el MUMA
- “María Ezcurra”, en re-d: arte, cultura visual y género del PUEG-IIE/UNAM
- Arttextum, Tejido de agentes culturales inspirados en Latinoamérica
- Efecto Mariposa / The Butterfly Effect (video)
- Mesera / Waitress (video)
- Maria Ezcurra, “Leopardo Azul”, 2010, Series: Abiertas, Cut and extended female underwear, Un-stitched garments installed on the wall, 60 x 75 x 75 cm.
- Maria Ezcurra, “Leotardo Gris”, 2001, Series: Cuerpo de Trabajo, Fabric and pins. Un-stitched garments installed on the wall, 170 x 150 cm.
- Maria Ezcurra, “Barroca”, 2010, Series: Abiertas, Cut and extended robe, Un-stitched garments installed on the wall, Variable dimensions.
- Maria Ezcurra, “Rosada”, 2010, Series: Abiertas, Cut and extended robe, Un-stitched garments installed on the wall, Variable dimensions.
- Maria Ezcurra, “Voraz”, 2010, Series: Abiertas, Cut and extended blouse, Un-stitched garments installed on the wall, 180 x 150 x 150 cm.
- Maria Ezcurra, “Interior I”, 2012, Series: Abiertas, Cut and extended fur coat, Un-stitched garments installed on the wall, Variable dimensions.
- Maria Ezcurra, “Interior II”, 2012, Series: Abiertas, Cut and extended fur coat, Un-stitched garments installed on the wall, Variable dimensions.
- Maria Ezcurra, “Playera de rayas verdes”, 2000, Series: Cuerpo de Trabajo, Fabric and pins. Un-stitched garments installed on the wall, 90 x 160 cm.
- Maria Ezcurra, “Camisa de rayas rosas”, 2000, Series: Cuerpo de Trabajo, Fabric and pins. Un-stitched garments installed on the wall, 100 x 150 cm.
- Maria Ezcurra, “Mariposa”, 2001, Series: Cuerpo de Trabajo, Un-stitched coat installed on the wall, 60 x 80 x 50 cm.
- Maria Ezcurra, “Invisible”, 2005, Unstitched nylon stockings structure, stretched and joined together, Variable dimensions. Museo de Arte Moderno, México DF.
- Maria Ezcurra, “Open”, 2012, This ongoing textile installation was created through a sequence of collaborative actions. Throughout the duration of the show different people from the Concordia community came to the vitrines wearing a garment specifically chosen to be transformed into a sculpture. Together we transformed the configuration and identity of a collective space through a series of shared individualities, Variable dimensions. Site-specific project. Location: Fofa Gallery, Universidad de Concordia, Montreal, Quebec, Canadá.
- Maria Ezcurra, “Parasites”, 2012, 6 columns made with crinolines. Art Souterrain, Nuit Blanche., Variable dimensions. Site-specific project. Location: Eaton Centre, Montreal, Quebec, Canadá.
- Maria Ezcurra, “Tiempo de espera”, 2008-2009, Weaved graphic that shows all the time that I invested waiting, each month, for a year, Variable dimensions.
- Maria Ezcurra, “Transfigurations”, 2011, Performance and Installation. Colaboration of Tatiana Koroleva, Variable dimensions. Site-specific project. Location: Universidad de Concordia, Montreal, Canadá. Photo credit: Scott MacLeod.
Translated from Spanish
I am interested in combining and juxtaposing different historical referents that derive from diverse places and times, and which coexist in an object.
My work is related to drawing, sculpture, and painting rom their more basic properties, such as material and form, but the materials I use are mostly objects from other activities. I use recognizable icons stemming from modern art history, in the creation of a work that goes through deconstruction and the relationship of objects and ideas that question the link between abstraction, history, and contemporaneity.
Estoy interesado en mezclar y superponer diferentes referentes históricos que provienen de lugares y épocas distintas que cohabitan en un objeto.
Mi trabajo es relativo al dibujo, la escultura y la pintura desde sus propiedades más elementales como el material y la forma, pero los materiales que utilizo son en gran parte objetos de otras actividades. Utilizo iconos reconocibles provenientes de la historia del arte moderno para la concepción de una obra que pasa por la deconstrucción y la puesta en relación de objetos e ideas que cuestionan la relación entre abstracción, historia y contemporaneidad.
Selected Biographical Information
Education / Training
- 2001-2006: DNSEP (Diplome national superieur d’expression plastique option art), Ecole Nationale Superieure d’arts de Paris, Cergy, Paris, France.
Prizes / Fellowships
- 2009-2010: Le Pavillon (residence), Palais de Tokyo, Paris, France.
- 2010: CIFO Grants, Cisneros Fontanals Art Foundation, Miami , USA.
- 2013: FAAP (residence), Fundação Armando Alvares Penteado , Sao Paulo, Brazil.
Solo Exhibitions
- 2006: “Side B quasi quieto”, Galerie La Vitrine, Paris, France.
- 2008: “Over and Over”, Galerie Crevecoeur, Paris, France .
- 2010: “The Truth of the Trou”, Galerie Crevecoeur, Paris, France.
- 2011: “Inevitable y Obvio”, Periferico Caracas (art center), Caracas, Venezuela.
- 2012: “Imagenes Souvenirs”, Galeria Ignacio Liprandi, Buenos Aires, Argentina.
Group Exhibitions
- 2013: “L’origine des choses, Collection du centre national des arts plastiques (France), curated by Sebastien Faucon“, La Centrale for Contemporary Art , Brussels, Belgium.
- 2012: “Sphe;res “, Galleria Continua, Le Moulin, Paris, France.
- 2012: “ÇA & LÀ / This & there “, Fondation d’entreprise Ricard, Paris, France.
- 2012: “In Other Words / Blackmarket of Translation – Negotiating Contemporary Cultures”, NGBK and Kunstraum Kreuzberg, Berlin, Germany.
- 2012: “Texto de sala”, Galerie Crevecoeur, Paris, France.
- 2011: “Untitled (Passport) – 12th Istanbul Biennial”, Istanbul Biennial, Istambul, Turkey.
- 2010: “Dynasty “, Palais de Tokyo / Musee d’Art Modernede la ville de Paris, Paris, France.
Publications
- Gabriel Pérez-Barreiro, Steve Roden, Reinaldo Laddaga, Jorge Pedro Nuñez, Andrea Giunta, Txomin Badiola, Olga Fernandez López, Héctor Fuenmayor, Luis Camnitzer, Jesús Carrillo, Sofía Hernandez Chong Cuy, Ana Longon, Concrete Invention – Reflections on Geometric Abstraction from Latin America and Its Legacy Coleccion Patricia Phelps de Cisneros (Madrid : Turner), 195.
Collections
- Fonds National d’Art Contemporain (FNAC), Paris, France.
- Cisneros Fontanals Foundation (CIFO), Miami, USA.
- Fonds Regional d’Art Contemporain (FRAC), Bourgogne, France.
- Fundacion ARCO, Madrid, Spain.
- Lab’Bel, Paris, France.
- Tiroche DeLeon Collection, London, UK.
- Jorge Pedro Núñez, “Untitled ( tres cuerpos negros )”, 2014, Plywood and metal , 49 x 110 x 38 cm.
- Jorge Pedro Núñez, “Untitled ( smoked walls ) “, 2014, Plexiglass, mixed medias (found piece of wall in th streets of Paris, contains cement, plaster, concrete), 30 x 80 x 80 cm.
- Jorge Pedro Núñez, “Untitled ( smoked walls ) “, 2013, Plexiglass, mixed medias (found piece of wall in th streets of Paris, contains cement, plaster, concrete), 60 x 90 x 30 cm.
- Jorge Pedro Núñez, “Untitled ( smoked walls ) “, 2013, Plexiglass, mixed medias (found piece of wall in th streets of Paris, contains cement, plaster, concrete), 60 x 90 x 60 cm. Tiroche DeLeon Collection (London).
- Jorge Pedro Núñez, “MADAME DEVAUÇAY – SERGIO LEONE”, 2012, Book and lamp, 32 x 198 x 24 cm.
- Jorge Pedro Núñez, “Chambre avec vue “, 2012, Stainless steel stems, plasterboard, 60 x 120 x 60 cm.
- Jorge Pedro Núñez, “Nature morte withmonuments”, 2010, Vinyl Records, aluminium, wood, Variable dimensions. CIFO.
- Jorge Pedro Núñez, “Desde lejos los ranchos aparecen como una composición multicolor o todo lo que Jésus me dio “, 2011, Parts of the work Cromosaturacion of Carlos Cruz-Diez. Pliths and objects, Variable dimensions.
- Jorge Pedro Núñez, “Practica constructiva”, 2011, books and metal, 20 x 120 x 90 cm.
- Jorge Pedro Núñez, “Electric Tatlin”, 2011, Books, metal, security system, cables., 290 x 250 x 45 cm.
- Jorge Pedro Núñez, “Untitled ( cinco cuerpos negros )”, 2014, Plywood and metal , 49 x 200 x 33 cm.
- Jorge Pedro Núñez, “Todo lo que MAM me dio “, 2010, Mixed media (plinths, show windows, various objects), 450 x 190 x 250 cm.
About the Artist
I always thought of sound, volume and rhythm breaking through boundaries and barriers in search for a place by looking for ways in which to visualize how this sound could be “seen” if it were traveling in a room, a body, or a garden.
My present work is about exploring sound structures in a sensorial manner, where I feel that music and nature come together in a type of code. In my earlier work I would attempt to ‘draw’ sound as it traveled through an architectural space. Visually it could be compared to a plant or bindweed traveling through space as it searches for its direction.
Presently, I am working on deconstructing that what produces sound by separating its parts. For instance, as in a musical instrument: I separated the body of the guitar from the neck, the cords and the pick guard.
By expanding the body of the instrument to the proportion of our bodies I want to express the explosion of sound through color and form. Through my extensive research of instruments and its components, I arrived at the LPs, and the beauty and meaning of its covers and sleeves. My generation received the last drop of the LP’s industry and the memory of listening to my parent’s records while looking at the covers reminded me how the visual part was so important.
Thirty by thirty cm cover is a huge area to represent the sound that is there, and to me the LP was always an object of awe and desire. In my most recent work, I presented the records and sleeves in frames to relate them to the golden age of the music industry—now found in Music Museums with their walls covered with the platinum and golden records suggesting the completion of an anachronistic ritual of our days of MP3, which involved a different relation between the body (hearing) and sound.
—
Siempre pensé en cómo el sonido, volumen y ritmo cortan los límites y las barreras en busca de un lugar; buscando maneras de visualizar cómo este sonido podría ser “visto” si viajase en un cuarto, un cuerpo, o un jardín.
Mi obra reciente aborda la exploración de estructuras de sonido de una manera sensorial, desde la que siento que la música y la naturaleza se unen en un tipo de código. En mi obra más temprana intenté “dibujar” el sonido a medida que avanzaba en el espacio y buscaba su dirección.
Hoy en día estoy trabajando en deconstruir aquello que produce sonido, separando sus partes. Por ejemplo, en un instrumento musical separé el cuerpo de la guitarra del mástil, las cuerdas y la caja protectora.
Al expandir el cuerpo del instrumento a la proporción de nuestros cuerpos, quiero expresar la explosión de sonido por medio del color y la forma. Mediante mi extensa investigación sobre los instrumentos y sus componentes, llegué a los LPs y la belleza y significado de sus portadas y cubiertas. Mi generación recibió la última gota de la industria de los LPs y la memoria de escuchar los álbumes de mis padres mientras que las portadas me recordaban la importancia de la parte visual.
Una portada de treinta por treinta centímetros es un área muy amplia para representar el sonido que está dentro y para mí el LP siempre fue un objeto de asombro y deseo. En mi obra más reciente presento los discos y carátulas en cuadros, para relacionarlos con la época de oro de la industria musical que ahora se encuentra en museos de música y sus muros cubiertos de los discos de platino y oro, sugiriendo el fin del ritual anacrónico de nuestros días del MP3, los cuales significaron una relación diferente entre el cuerpo (la acción de escuchar) y el sonido.
Selected Biographical Information
Education / Training
- 1999-2003: Fine Arts, Fundação Armando AAlvares Penteado FAAP, Aão Paulo, Brazil.
Prizes / Fellowships
- 2003: Bolsa-Prêmio – 35° Anual de Arte , FAAP Fundação Armando Alvares Penteado, São Paulo, Brazil.
- 2004: Art in Residency Programme at Gasworks Gallery – 1° lugar Prêmio Chamex de Arte Jovem, Chamex, London, England.
- 2008: Mountain School of Arts Residency, Mountain School of Arts, Los Angeles, ESA.
Solo Exhibitions
- 2013: “gravações perdidas [lost recordings]“, Galeria Vermelho, São Paulo, Brazil.
- 2013: “no no yes please“, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.
- 2012: “sunburst“, Galeria Vermelho, São Paulo, Brazil.
- 2011: “O papel do jardim [the role of the garden]”, Galeria Silvia Cintra + Box4, Rio de Janeiro, Brazil.
- 2010: “KOTO “, Galeria Vermelho, São Paulo, Brazil.
- 2010: “Place to Be”, GaleryRio, Nantes, France.
- 2009: “LUGAR”, Camara de Comércio de Bogotá, Bogotá, Colombia.
- 2007: “Mirante”, Galeria Lunara, Porto Alegre, Brazil.
- 2007: “Pausa [pause]“, Galeria Vemelho, São Paulo, Brazil.
- 2006: “Cruzamentos – Caminhos [crossings – paths]”, DRCLAS – Harvard, Cambridge, USA.
- 2006: “Cruzamentos – Encontros [crossings – encounters]”, Boston Arts Academy, Boston, USA.
- 2006: “Sweet Melody“, LABF15, Lyon, France.
- 2005: “Firehouse“, De Vleeshal, Middelburg, Holland.
- 2005: “Viga Mestra [main beam]“, Galeria Vermelho, São Paulo, Brazil.
Group Exhibitions
- 2013: “Imagine Brazil“, Astrup Fearnley Museet, Oslo, Norway.
- 2013: “Prospect 1“, Museum of Contemporary Art San Dieg, San Diego, USA.
- 2013: “Tomie Ohtake Correspondências“, Instituto Tomie Ohtake, São Paulo, Brazil.
- 2011: “Contra a Parede [against the wall]“, Galeria Vermelho, São Paulo, Brazil.
- 2011: “32º Panorama da arte Brasileira“, Museu de Arte Moderna [MAM SP] , São Paulo, Brazil.
- 2010: “Quem tem medo?”, Galeria Vermelho, São Paulo, Brazil.
- 2008: “Blooming Brasil-Japão – O seu lugar – [Blooming Brasil-Japan – Your Place]“, Toyota Municipal Museum of Art , Province of Aichi, Japan.
- 2008: “Exposição de Verão”, Galeria Silvia Cintra-Box 4, Rio de Janeiro, Brazil.
- 2007: “Futuro do Presente [the future of the present]”, Instituto Itaú Cultural, São Paulo, Brazil.
- 2006: “10 anos + 1 – Os anos recentes da arte brasileira – [10 years + 1 – the recent years of brazilian art]“, Instituto Tomie Othake, São Paulo, Brazil.
- 2006: “Urban Spaces“, DNA Galerie, Berlin, Germany.
- 2006: “Rumos Itaú Cultural 2005/2006 Artes Visuais”, Instituto Itaú Cultural, São Paulo, Brazil.
- 2005: “Panorama “, Museu de Arte de São Paulo [MAM SP], São Paulo, Brazil.
- 2005: “J’en Rêve“, Fondation Cartier, Paris, France.
- 2004: “udo Aquilo que Escapa – 46° Salão Pernambucano de Artes Plásticas“, Espaço Cícero Dias do Museu do Estado, Recife, Brazil.
Publications
- Luiz Camillo Osorio, Coleção Gilberto Chauteaubriand (Rio de Janeiro: Barléu Edições LTDA.), 133.
Collections
- Pinacoteca do Estado de São Paulo, São Paulo, Brazil.
- De Vleeshal, Middelburg, Holland.
- Harvard University, Cambridge, USA.
- Museum of Contemporary Art San Diego, San Diego, USA.
- Coleção Gilberto Chateaubriand -Museu de Arte Moderna [MAM RJ], Rio de Janeiro, Brazil.
- Chiara Banfi, “les paul of the series sunburst – triptic”, 2013, Series: sunburst, three hardboard one covered with Abdul wood leaf, another with Maple and the last with ash, a yellow and orange sayerlack pigment is applied in each piece and then a PLB cover coat , 160 x 110 x 7 (each piece) cm . Photo credit: calé Azad.
- Chiara Banfi, “Em Branco [blank] of the series empty records”, 2013/2014, Series: empty records, vinyls with no music recorded on them, old sleeves presented in a wooden frame, this piece consists of 12 parts, 37 x 70 x 3 (each) cm . Photo credit: Edouard Fraipont.
- Chiara Banfi, “fender precision black soulages – back”, 2013, Series: fender, black paint with PLB finish on hardboard sculpted wood, 160 x 110 x 7 cm. Private Collection: Caracas, Venezuela. Photo credit: Edouard Fraipont.
- Chiara Banfi, “strange fruit of the series silence”, 2013, Series: silence, used magnetic audio tape 2 inches wide applied on an alumminum surface, 160 x 125 x 5 cm. Private Collection: São Paulo, Brazil. Photo credit: Edouard Fraipont.
- Chiara Banfi, “baixo e guitarra [bass and guitar] of the series desenhos sonoros [sonoric drawings]”, 2012, Series: desenhos sonoros [sonoric drawings], 8 bass and 12 gutiar tuners on wood attached to the wall, wire connecting one side to the other, 4 pickups in the centre sending sound to the amplifier , 154 x 238 x 3 cm . Photo credit: Rafael Cañas.
- Chiara Banfi, “mapa 10 – prata [map 10 – silver]”, 2012, color plus 180 grams paper silkscreened and cut out placed over silver Lotka paper also silkscreened , 196 x 156 x 5 cm. Private Collection: São Paulo, Brazil. Photo credit: Marcelo Guarnieri.
- Chiara Banfi, “sem titulo “, 2011, Series: papel do jardim, color plus 180 grams paper silkscreened with music staff applied over papirus paper, 210 x 115 x 5 cm. Private Collection: Belo Horizonte, Brazil. Photo credit: Marcelo Guarnieri.
- Chiara Banfi, “Dique Seco [Drydock]”, 2009, music paper cutout and applied overmusic paper, 106 x 79.5 x 4 cm. Pinacoteca do Estado de São Paulo, São Paulo, Brazil. Photo credit: Ding Musa.
- Chiara Banfi, “sweet melody – asa branca”, 2006-2009, this drawing is part of a series of installations where from a music sheet I would draw onto the wall with adhesive vinyl up to the ceiling and the ‘drawing’ or ‘music note’ would drop (next picture), Variable dimensions. Photo credit: Ding Musa.
- Chiara Banfi, “sweet melody”, 2006-2009, this is the continuation of the previous picture, as the adhesive vinyl reaches the ceiling the ‘drawing’ drops. vinyl and wood, Variable dimensions. Private Collection: São Paulo, Brazil. Photo credit: Ding Musa.
- Chiara Banfi, “Wind”, 2008, inlay of different woods and laca, 200 x 70 x 8 each cm. Private Collection: São Paulo, Brazil. Photo credit: Ding Musa.
- Chiara Banfi, “incoming wind”, 2008, A view of an installation I did in the Toyota Museum of Art, with adhesive vinyl paint and wood inlay panal , Variable dimensions. Site-specific project. Location: Toyota Municipal Museum of Art, Toyota, Province of Achi, Japan. Photo credit: Chiara Banfi.
- Chiara Banfi, “Jardim Suspenso [Suspended Garden]”, 2007, metal structure in an organic form, with a garden., Variable dimensions. Site-specific project. Location: Instituto Itaú Cultural, São Paulo, Brazil. Photo credit: Edouard Fraipont.
- Chiara Banfi, “Balanço [Swing]”, 2005, adhesive vinyl on an acrylic panel and frame , 80 x 120 x 5 cm. Private Collection: Miami, USA. Photo credit: Ding Musa.
- Chiara Banfi, “Red Boat – Firehouse”, 2005, Hammock with cloth, paint on wall and adhesive vinyl on the wall , Variable dimensions. Site-specific project. Location: De Vleeshal, Middelburg , Holland. Private Collection: Middleburg, Holland. Photo credit: Chiara Banfi.
Translated from Spanish
Since 2009, my work has focused on the study of Op and geometric art, mainly how haute couture houses and readymade brands appropriated these avant-gardes for the creation of fashion trends. My works begin with the appropriation of patterns found in magazines, books, and websites about fashion. These appropriations are presented in installations, paintings and collages, using not only art techniques but also materials and techniques from fashion design and graphic design, such as studs, leather, and cutting plotter.
Optical Power is a project, developed in black and white, in which I focused on Op Art, recontextualizing designs by Rudi Gernreich, Rei Kawakuro, and Pucci, among others. In Geometría Pura Mente Consumista (Pure Geometry Consumerist Mind) I wanted to include geometric patterns designed by haute couture brands and multinational corporations, but as collages in die-cut leather, with studs or cut and sewn pieces. I am developing the most recent work with polyurethane paint and polyester, and continue to appropriate geometric patterns—but in this case, the patterns are combined as diptychs and polyptychs that are loaded with color and content.
Desde el 2009 mi trabajo se ha enfocado en estudiar el arte óptico y geométrico, principalmente como las casas de alta costura y las marcas readymade se apropian de estas vanguardias para la creación de tendencias de moda. La creación de mis trabajos parte de la apropiación de patrones encontrados en revistas, libros y páginas web sobre moda. Estas apropiaciones son presentadas en instalaciones, pinturas y collages, utilizando no solamente las técnicas propias del arte sino a su vez materiales y técnicas del diseño de moda y el diseño gráfico como taches, cueros y plotter de corte.
Optical Power es un proyecto que se desarrollo en blanco y negro y donde me enfoque en el arte óptico, recontextualizando diseños de Rudi Gernreich, Rei Kawakuro y Pucci entre otros. En Geometría Pura Mente Consumista quise abarcar los patrones geométricos diseñados por casas de alta costura y marcas multinacionales pero trabajados a manera de collage en cueros troquelados, con taches o piezas recortadas y cosidas. El trabajo más reciente lo estoy desarrollando con pinturas en poliuretano y poliéster donde sigo apropiándome de patrones geométricos pero esta vez estos patrones son conjugados a manera de dípticos y polípticos tomando una fuerza de color y contenido.
Selected Biographical Information
Education / Training
- 2007-2008: MA Fine Arts, Central Saint Martins College of arts and design, London, UK.
- 1998-2002: Artista Plástica, Universidad de los Andes, Bogotá, Colombia.
- 1994-1996: Applied arts in Fashion Design, The Art Institute of Dallas, Dallas, USA.
Prizes / Fellowships
- 2007-2008: Jóvenes Talentos, Banco de la República, Bogotá, Colombia.
Solo Exhibitions
- 2013: “Geometría Pura Mente Consumista”, Nueveochenta arte contemporáneo, Bogotá, Colombia.
- 2011: “Optical Power”, Nueveochenta arte contemporáneo, Bogotá , Colombia.
- 2009: “Made In”, Nueveochenta arte contemporáneo, Bogotá, Colombia.
- 2007: “Sueños Technicolor”, Alianza Francesa, Bogotá, Colombia.
- 2005: “Knock off”, Galería Casas Riegner, Bogotá, Colombia.
Group Exhibitions
- 2014: “Project Room Zona Maco Sur: Las cosas son repentinas”, Zona Maco Sur, Mexico City, Mexico.
- 2012: “Nuestro sitio: artistas de America del Sur”, Mavi, Santiago de Chile, Chile.
- 2011: ” Nuestro sitio: artistas de America del Sur”, MacNiteroi, Niteroi, Brazil.
- 2011: “Resurfaced: Contemporary Colombian art”, MagnanMetz Gallery, Nueva York, USA.
- 2011: “Sobre el Territorio: Arte Contemporáneo en Colombia”, Santralistanbul, Istanbul, Turkey.
- 2011: “Project Room Chaco: Expediciones visuales: Viajes por el Pacifico”, Chaco, Santiago de Chile, Chile.
- 2010: “Puntos suspensivos”, Museo Diego Rivero, Mexico City, México.
- 2009: “The Red Mansion Art Prize Exhibition”, Slade Research Centre, London, UK.
- 2009: “Integración y Resistencia en la era global”, X Bienal de la Habana, Habana, Cuba.
- 2008: “Degreeshow”, Central Saint Martins College of art and design, London, UK.
- 2008: “A constant cracking of the surface”, Bargehouse, London, UK.
Collections
- Banco de la República, Bogotá, Colombia.
- Barbarita Cardozo, “Telón”, 2011, Series: 7, Adhesive vinyl on wall, Variable dimensions.
- Barbarita Cardozo, “Fall 1971, Autum\winter 2000, Fall 1971 II”, 2011, Series: 5, Digital printing on canvas encapsulated in acrylic, 120 cm x 120 cm x 2 cm. Private collection.
- Barbarita Cardozo, “Spring/Summer 1973”, 2011, Series: 1, Enamel on acrylic, 158 cm x 120 cm x 1 cm.
- Barbarita Cardozo, “Mid 1950´s”, 2011, Series: 7, Adhesive vinyl on wall, Variable dimensions. Private collection.
- Barbarita Cardozo, “Geometría No. 11”, 2013, Series: 1, Collage on synthetic leather, 130 cm x 111 cm
- Barbarita Cardozo, “Geometría No.1”, 2012, Series: 1, Collage of rhinestones on synthetic leather, 50 x 33 cm each. Private collection
- Barbarita Cardozo, “Geometría No. 8”, 2013, Series: 1, Collage on synthetic leather, 168 cm x 120 cm
- Barbarita Cardozo, “Geometría No. 10”, 2013, Series: 1, Collage on synthetic leather, 115 cm x 151 cm. Private collection.
- Barbarita Cardozo, “Geometría No.4”, 2013, Series: 1, Collage on synthetic leather, 136 cm x 206 cm. Private collection
- Barbarita Cardozo, “Geometría No. 6”, 2013, Series: 1, Collage on synthetic leather, 136 cm x 206 cm
- Barbarita Cardozo, “Otoño\Invierno 2013”, 2013, Series: 1, Polyurethane on mdf, 210 cm x 180 cm. Private collection
- Barbarita Cardozo, “Otoño\Invierno 2014”, 2014, Series: 1, Polyurethane on mdf, 210 cm x 180 cm. Private collection
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
A constant in my work is the restlessness and questioning of the social constructs of identity; whether territorial, individual, or artistic. Within that framework, I try to interpret what aspects are traditional constructions and which ones are new forms of economic and cultural “colonization” in the context of “globalization,” which helps define the contemporary situation but that hides the huge inequalities of a world that, to paraphrase George Orwell, is much more global to some than others. Both (or more) fields coexist, are combined and overlapped without really defining the clarity of one possible answer. It is in this boundary where my motivations come to the surface.
Una constante en mi trabajo es la inquietud y el cuestionamiento por las construcciones sociales de identidad, ya sean territoriales, individuales o artísticas; dentro de este marco, tratar de descifrar qué aspectos son construcciones tradicionales y cuales son nuevas formas de “colonización”, tanto económica como cultural, en el entorno de la “globalización”, que sirve para caracterizar la situación contemporánea, pero que esconde las enormes desigualdades de un mundo que, parafraseando a George Orwell, es mucho más global para unos que para otros. Ambos ámbitos (o más) conviven, se mezclan y se contraponen sin realmente definir la claridad de una posible respuesta; y es en este linde donde se ponen a flote mis motivaciones.
Selected Biographical Information
Education / Training
- 2014: Programa Educativo SOMA, México D.F.
- 2007-2012: Estudios de Sociología en la Universidad Nacional de Costa Rica.
- 2009- 2011: Licenciado en Arte y Comunicación Visual, Universidad Nacional, Heredia, Costa Rica.
- 2004-2008: Bachillerato en Arte y Comunicación Visual con Énfasis en Grabado, Universidad Nacional de Costa Rica.
- 2007: Beca Taller, EspIRA/La ESPORA, Fase 2, Talleres de Escultura-Instalación, Managua, Nicaragua.
Prizes / Fellowships
- 2013: Artista seleccionado Programa Educativo SOMA 2014-2016, México D.F.
- 2013: Artista Seleccionado en Bienarte 2013, para Representar a Costa Rica en el 2014, en la IX Bienal de Artes Visuales del Istmo Centroamericano en Guatemala.
- 2012: Tercer Premio Valoarte 2012, San José, Costa Rica
- 2011: Artista Seleccionado para PILA DE LA MELAZA 950m³, Museo de Arte y Diseño Contemporáneo (MADC), San José, Costa Rica.
- 2007: Artista Seleccionado en Bienarte 2007, para Representar a Costa Rica en el 2008, en la VI Bienal de Artes Visuales del Istmo Centroamericano en Tegucigalpa, Honduras.
- 2007: Beca-Taller, EspIRA/La ESPORA, Fase 2, Talleres de Escultura-Instalación, Managua, Nicaragua.
Solo Exhibitions
- 2014: “The Poverty of Progress”, Galería Des Pacio, San José, Costa Rica.
- 2013: “Durmientes”, Sala Poligráfica, TEOR/éTica, San José, Costa Rica. Curador: Inti Guerrero
- 2011: “Sistema Musaceae”, PILA DE LA MELAZA 950m³, Museo de Arte y Diseño Contemporáneo (MADC), San José, Costa Rica.
- 2011: “Control+Alt+Suprimir”, Centro Cultural Español, San José, Costa Rica.
- 2008: “Para Exportación”, Casa de Cultura Popular, José Figueres Ferrer, San José, Costa Rica.
- 2007: “Sociedad Disímil”, Galería 1887, San José, Costa Rica.
Group Exhibitions
- 2014: Project Space Exhibition Tate Modern/TEOR/éTica, London, England y San José, Costa Rica.
- 2014: IX Bienal de Artes Visuales del Istmo Centroamericano, Guatemala.
- 2013: “Contemporánea Impo.po/sible, Ackee Spot Contemporary, Heredia, Costa Rica.
- 2013: “New Fantasies”, TEOR/éTica, San José, Costa Rica. Curators: Inti Guerrero y Lina Castañeda.
- 2013: “Inquieta Imagen 2013”, Museo de Arte y Diseño Contemporáneo (MADC), San José, Costa Rica.
- 2013: “Transcripciones”, Proyecto Reconciliaciones, Universidad de la Habana, Facultad de Artes y Letras, La Habana, Cuba. Curator: Blanca Victoria López.
- 2013: “La caricia vulgar de la caída”, Centro Cultural de España, Ciudad de Guatemala. Curador: Pablo José Ramírez.
- 2013: IX Bienal Costarricense de Artes Visuales, Bienarte, Museo Rafael Ángel Calderón Guardia, San José, Costa Rica.
Publications
- Daniela Lieja Quintanar, “Vislumbrar la resistencias a través del arte“, in Clima Cultural, Arttextum, Tejido de agentes culturales inspirados en Latinoamérica, June, 2013.
- OSCAR FIGUEROA: Re-imaginar la nación desde el café internet. Sergio Villena Fiengo. 31 de octubre de 2011.
- “Despolitizar” como acción política en la Centroamérica contemporánea. Anabelle Contreras. E-MISFÉRICA. Hemispheric Institute of Performance and Politics. Agosto de 2011. Universidad de New York.
- Bienal de Artes Visuales del Istmo Centroamericano. Ingrid Cordero. Revista Kink. Noviembre de 2008. San José. Costa Rica.
- Bien-arte. Randall Zúñiga. Revista Su Casa. Diciembre de 2007. San José. Costa Rica.
- Alegorías y Grabados. Esteban Alfaro. Revista Kink. Noviembre de 2007. San José. Costa Rica.
Collections
- Museo de Arte y Diseño Contemporáneo (MADC), San José, Costa Rica.
- National Taiwan Museum of Fine Arts, Taiwan.
- Taller de Arte Tránsito 54, Orduña, Spain.
- Museo del Grabado Castillo de los Paleólogos de Acqui Terme, Italy.
- Museo Iberoamericano de Arte Contemporáneo, Huelva, Spain.
- Patronato Municipal de Cultura, Ávila, Spain.
- Els Catòllcs d`Olot, Girona, Spain.
Links
- Oscar Figueroa, “Registro # 1080”, 2013-2014, Crushed railroad tie from the Atlantic zone of Costa Rica on wooden pedestal
- Oscar Figueroa, “Alegoría #2”, 2012, Keyboard keys and “Baroque” wood frame
- Oscar Figueroa, “Durmientes”, 2012-2013, Site-specific registry of action that occurred in the railroad tracks from Guatemala to Colombia
- Oscar Figueroa, “Durmientes”, 2012-2013, Site-specific registry of action that occurred in the railroad tracks from Guatemala to Colombia
- Oscar Figueroa, “Durmientes”, 2012-2013, Site-specific registry of action that occurred in the railroad tracks from Guatemala to Colombia
- Oscar Figueroa, “Musaceae Circuits”, 2008-2011, Photographs of banana leaves with Intel Costa Rica keyboards circuits
- Oscar Figueroa, “Sin Título (Deméritos) 1”, 2012-2013, Series: Sin Título (Deméritos), “Paintings” made from recycled bags that were used to cover the banana bunches in the field so they do not fill with pests, Variable dimensions. Photo credit: Image courtesy of the artist.
- Oscar Figueroa, “Sin Título (Deméritos) 2”, 2012-2013, Series: Sin Título (Deméritos), “Paintings” made from recycled bags that were used to cover the banana bunches in the field so they do not fill with pests, Variable dimensions. Photo credit: Image courtesy of the artist.
- Oscar Figueroa, “Sin Título (Deméritos) 3”, 2012-2013, Series: Sin Título (Deméritos), “Paintings” made from recycled bags that were used to cover the banana bunches in the field so they do not fill with pests, Variable dimensions. Photo credit: Image courtesy of the artist.
- Oscar Figueroa, “Sin Título (Deméritos) 4”, 2012-2013, Series: Sin Título (Deméritos), “Paintings” made from recycled bags that were used to cover the banana bunches in the field so they do not fill with pests, Variable dimensions. Photo credit: Image courtesy of the artist.
- Oscar Figueroa, “Sin Título (Deméritos) 5”, 2012-2013, Series: Sin Título (Deméritos), “Paintings” made from recycled bags that were used to cover the banana bunches in the field so they do not fill with pests, Variable dimensions. Photo credit: Image courtesy of the artist.
- Oscar Figueroa, “Sin Título (Deméritos) 6”, 2012-2013, Series: Sin Título (Deméritos), “Paintings” made from recycled bags that were used to cover the banana bunches in the field so they do not fill with pests, Variable dimensions. Photo credit: Image courtesy of the artist.
- Oscar Figueroa, “Sin Título (Deméritos) 7”, 2012-2013, Series: Sin Título (Deméritos), “Paintings” made from recycled bags that were used to cover the banana bunches in the field so they do not fill with pests, Variable dimensions. Photo credit: Image courtesy of the artist.
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
Selected Biographical Information
Prizes / Fellowships
- 2004: “Artist’s Choice Award”, Artbots, Saints Michael and John’s Church, Dublin, Ireland.
- 2005: “Premio Armando Reverón”, 61 Salón Arturo Michelena, Ateneo de Valencia, Valencia, Venezuela.
Solo Exhibitions
- 2015: “Geometric choreographies”, Das Kleine Museum, Weissenstadt, Germany.
- 2014: “Elias Crespin”, Galerie Denise René, Paris, France.
- 2014: “Elias Crespin”, Temps suspendu, Galerie de la Marine, Nice, France.
- 2012: “Et Op! Elias Crespin”, Musée en Herbe, Paris, France.
- 2012: “Elias Crespin. Parallels”, Cecilia de Torres Ltd., New York, NY, USA.
- 2011: “Visionary Collection Vol. 14. Elias Crespin Electrokinetics”, Haus Konstruktiv, Zurich, Switzerland.
- 2010: “Hiperficies”, Ars Longa, Paris, France.
- 2006: “Electrocinéticas”, Canal Centro de Producción Cultural, Caracas, Venezuela.
Group Exhibitions
- 2015: “Selección = Relación”, Espacio Monitor, Caracas, Venezuela.
- 2015: “Mapping Festival”, Geneva, Switzerland.
- 2014: “Busan Biennale”, Busan, South Korea.
- 2014: “Structures de l’invisible”, Galerija Klovicevi dvori, Zagreb, Croatia / Foundation Vasarely, Aix-en-Provence, France.
- 2013: “Turbulences II”, Villa Empain – Fondation Boghossian, Brussels, Belgium.
- 2013: “Intersecting Modernities. Latin American Art from the Brillembourg Capriles Collection”, MFAH, Houston, TX, USA.
- 2013: “Dynamo”, Grand Palais, Paris, France.
- 2013: “Des gestes de la pensée”, La Verrière Fondation d’entreprise Hermès, Brussels, Belgium.
- 2012: “Turbulences“, Espace culturel Louis Vuitton, Paris, France.
- 2012: “Hommage à Denise René”, Galerie Denise René, Paris, France.
- 2011: “Cosmopolitan Routes”, MFAH, Houston, TX, USA.
- 2009: “North Looks South”, MFAH, Houston, TX, USA.
- 2006: “Life Forms”, Kinetica Museum, London, UK.
- 2004: “Ingravidez”, Ateneo de Cabudare, Cabudare, Venezuela.
- 2004: “Mutaciones en el espacio”, Museo del Estado Miranda, Los Teques, Venezuela.
Publications
- Elias Crespin. Parallels, Cecilia de Torres Ltd., New York, NY, USA, 2012.
- Elias Crespin. Hiperficies, Ars Longa, Paris, Francia, 2010.
- Virginie Chuimer-Layen, “Elias Crespin et la poésie de la cinétique”, in La Gazette de Drouot, 6, Febrero 15, 2013.
- Amélie Adamo, “Elias Crespin. Sculpteur d’algorithme”, in Art Absolument, 49, Septiembre-Octubre 2012.
- Victoria Verlichak, “Geometric Choreographies”, in Art Nexus, 78, 2012.
Collections
- Colleción Ella Fontanals – Cisneros, Miami, FL, USA.
- El Museo del Barrio, New York, NY, USA.
- Museo de Arte Latinoamericano, Buenos Aires, Argentina.
- Museo Nacional de Bellas Artes, Buenos Aires, Argentina.
- The Museum of Fine Arts, Houston, TX, USA.
Links
- Elías Crespín, “Malla Electrocinética i”, 2012, Stainless steel, leads, nylon, motors, computer, electronic interface, 50 x 50 cm. Private Collection, Paris. Photo credit: Pascal Maillard. Image courtesy of the artist.
- Elías Crespín, “10 Cuadrosi”, 2007. Cisneros Fontanals Art Foundation, Miami, FL. Photo credit: Pascal Maillard. Image courtesy of the artist.
- Elías Crespín, “Tetralineados Circular Azul”, 2009, Plexigalss, nylon, motors, computer, electronic interface, 20 x 80 x 80 cm. Private Collection, Houston TX, USA. Image courtesy of the artist.
- Elías Crespín, “Tetralineados Rojo”, 2009, Plexigalss, nylon, motors, computer, electronic interface, 20 x 20 x 155 cm. Private Collection, Buenos Aires, Argentina. Image courtesy of the artist.
- Elías Crespín, “Angulados Beta”, 2009, Stainless steel, nylon, motors, computer, electronic interface, 100 x 42 cm. Private Collection. Image courtesy of the artist.
- Elías Crespín, “Hiperficie”, 2010, Steel, bronze, nylon, motors, computer, electronic interface, 210 x 195 cm. The Brillembourg Capriles Collection of Latin American Art, Miami, FL, USA. Image courtesy of the artist and Museum Haus Konstruktiv, Zurich
- Elías Crespín, “TriNet”, 2011, Stainless steel, nylon, motors, computer, electronic interface, 100 x 42 cm. Private Collection. Image courtesy of the artist.
- Elías Crespín, “Cubo Electrocinético”, 2011, Aluminum, leads, nylon, motors, computer, electronic interface, 50 x 50 x 50 cm. Private Collection, Paris, France. Photo credit: Pascal Maillard. Image courtesy of the artist.
- Elías Crespín, “4Net”, 2011, Steel, brass, nylon, motors, computer, electronic interface, 247 x 247 cm. Private Collection. Photo credit: Pascal Maillard. Image courtesy of the artist.
- Elías Crespín, “Circuconcéntricos Inoxidable”, 2012, Stainless steel, nylon, motors, computer, electronic interface, Diameter 100 cm. Private Collection. Photo credit: Pascal Maillard. Image courtesy of the artist.
- Elías Crespín, “Plano Flexionante 2”, 2012, Stainless steel, nylon, motors, computer, electronic interface, 592 x 24 cm. Private Collection, Hong Kong. Image courtesy of the artist and Cecilia de Torres Ltd., New York.
- Elías Crespín, “Plano Flexionante Circular”, 2012, Stainless steel, aluminum, brass, nylon, motors, computer, electronic interface, Diameter 300 cm. Private Collection. Photo credit: Pascal Maillard. Image courtesy of the artist.
- Elías Crespín, “Circuconcéntricos Transparente”, 2013, Plexiglass, nylon, motors, computer, electronic interface, Diameter 100 cm. Private Collection. Photo credit: Pascal Maillard. Image courtesy of the artist.
- Elías Crespín, “16 cubos”, 2013, Stainless steel, nickel, nylon, motors, computer, electronic interface, 50 x 50 x 10 cm. Private Collection. Photo credit: Pascal Maillard. Image courtesy of the artist.
- Elías Crespín, “Plano Flexionante Circular Rojo”, 2013, Plexiglass, nylon, motors, computer, electronic interface, Diameter 100 cm. Private Collection, Paris, France. Photo credit: Pascal Maillard. Image courtesy of the artist.
Translated from Spanish
I am interested in processes, that what impulses action; movement. I seek minimal spaces to build an objectual, spatial, formal and conceptual structure. I search for the limit of abstraction, of meaning, of the relationship with references in order to assign new functions. The tools and objects that I use have a relation with a personal experience, where I had a good time, as minor as that moment may have been. Therefore they are objects that have an emotional charge, no matter that the mechanism of selection is perceived in the work but that the spectator can have empathy with these objects and sense time in them.
Me interesan los procesos, lo que impulsa una acción, los movimientos. Busco los espacios mínimos para armar una estructura, objetual, espacial, formal y conceptual. Busco el límite de la abstracción, del significado, de la relación con los referentes, para poder asignar nuevas funciones. Las herramientas y objetos que uso tienen relación con alguna experiencia personal, en donde la pasé bien, por más mínimo que haya sido ese momento. O sea que son objetos que tienen una carga afectiva, sin interesar que este mecanismo de selección se perciba en la obra, pero sí que el espectador pueda tener empatía con esos objetos, intuir un tiempo en ellos. Este tiempo en los objetos, su memoria emotiva, la tensión que se puede producir entra dos puntos. Uso, pedazos que nos dan una estructura, la voluptuosidad de la distancia y el modo en que esos elementos se relacionan para expresar ese proceso que todavía vincula al arte con la vida cotidiana. Entonces: abstracción, pura forma + la expresión y homenaje a los autores de los que estamos hechos + el peso de los detalles: las cosas que evocan recuerdos. Uno de los mecanismos de trabajo son los anclajes, los referentes y los tributos “a la manera de un adolescente que cuelga pósters en su cuarto” Me armo un playslist, una biblioteca mental de posibilidades, que se va actualizando, y con esas unidades generar nuevos grupos. Me gusta que el trabajo oscile entre el taller y la pantalla, y desde esa acción marcar varios recorridos.
Selected Biographical Information
Education / Training
- 1993-1999: Universiario incompleto hasta tercer año de la carrera, Diseño Gráfico, Universidad de Buenos Aires, Argentina.
Prizes / Fellowships
- 2010: Premio Foster Catena, Buenas Aires, Argentina.
- 2003-2005: Programa de Talleres para las Artes Visuales, C.C.R.Rojas, UBA Kuitca, Buenas Aires, Argentina.
Solo Exhibitions
- 2013: “S/T, instalación”, Galería Foster Catena, Buenos Aires, Argentina.
- 2012: “Polideportivo. Instalación y edición”, with Bruno Gruppalli, Galería Cultura Pasajera, Rosario, Argentina.
- 2011: “espacio tiempo. Instalación“, Galería Foster Catena, Buenos Aires, Argentina.
- 2010: “Ya no te quiero, Instalación”, with Nadia Lawson, Mundo Dios,Mar del Plata, Argentina.
- 2010: “Rápìdo Vos”, (Segunda Parte) Instalación, Baltar Contemporáneo, Mar del Plata, Argentina.
- 2009: “Rápìdo Vos”, Instalación, Taller de Ernesto Ballesteros, Buenos Aires, Argentina.
- 2005: “Tundra Bus”, Instalación y edición. Boquitas Pintadas with Eubel, Buenos Aires, Argentina.
- 2003: “De vos a mi”, Instalación y edición, with Andi Nachon, Galería Belleza y Felicidad, Buenos Aires, Argentina.
Group Exhibitions
- 2013: “Muestra F.D.A.C.M.A. Seccional Córdoba”, Universidad de Córdoba,Argentina.
- 2013: “Febrero”, Galería Foster Catena, Buenos Aires, Argentina.
- 2012: “Cocktail de estrellas”, F.D.A.C.M.A. Colección Permanente, Galería Meridion, Buenos Aires, Argentina.
- 2011: “openning ceremony”, Espacio Baltar – Lawson, Buenos Aires, Argentina.
- 2011: “poetics of expansion“, Dot Fiftyone Gallery, Miami, USA.
- 2010: “work in progress”, Galería Mite, Buenos Aires, Argentina.
- 2010: “Retratos”, Galería Chez Vautier, Buenos Aires, Argentina.
- 2010: “Naturaleza Muerta”, Galería Chez Vautier, Buenos Aires, Argentina.
- 2009: SAC semana del arte contemporáneo, Mar del Plata, Argentina.
- 2008: “No es fácil decir adios”, Pop Hotel Boquitas Pintadas, Bs. As. Buenos Aires, Argentina.
Collections
- Sayago & Pardon, USA.
- Alejandro Ikonicoff, Buenos Aires, Argentina.
- Esteban Tedesco, Buenos Aires, Argentina.
- Ricardo Brito, San Pablo, Brazil.
Links
- Digital publication
- Digital catalogue -Polideportivo
- Digital publication -Antes de la Nada
- Digital publication -Distribuídos en el espacio y contenidos en el tiempo
- Juan Sebastián Bruno, “Rampa”, 2008, Digital drawing, 70 x 100 cm. Image courtesy of the artist.
- Juan Sebastián Bruno, “Sin título”, 2012, Digital drawing, 70 x 50 cm. Image courtesy of the artist.
- Juan Sebastián Bruno, “Sin título”, 2012, Digital drawing, 70 x 50 cm. Image courtesy of the artist.
- Juan Sebastián Bruno, “Sin titulo”, 2012, Digital drawing, 70 x 50 cm. Image courtesy of the artist.
- Juan Sebastián Bruno, “Sin título”, 2012, Silkscreen, 70 x 50 cm. Image courtesy of the artist.
- Juan Sebastián Bruno, “Sin título”, 2012, Silkscreen, 70 x 50 cm. Image courtesy of the artist.
- Juan Sebastián Bruno, “Sin título”, 2011, Sculpture (Wood, glass, various objects), 30x30x62 cm. Image courtesy of the artist.
- Juan Sebastián Bruno, “El péndulo”, 2011, Sculpture (Wood, glass, various objects), 29x29x155 cm. Image courtesy of the artist.
- Juan Sebastián Bruno, “Deconstrucción”, 2013, Sculpture (Glass, steel objects). Image courtesy of the artist.
- Juan Sebastián Bruno, “Download Joseph Bueys (plano)”, 2013, Digital drawing, 70 cm x 100 cm. Image courtesy of the artist.
- Juan Sebastián Bruno, “Download Joseph Bueys (plano)”, 2013, Sculpture (steel, concrete, wire, – floodlight). Image courtesy of the artist.
- Juan Sebastián Bruno, “El lápiz”, 2013, Sculpture (Glass, steel, carpenter’s pencil). Image courtesy of the artist.
- Juan Sebastián Bruno, “Sín titulo”, 2013, Parallel board, 150x14cm. Image courtesy of the artist.
- Juan Sebastián Bruno, “Sin título”, 2012. Image courtesy of the artist.
- Juan Sebastián Bruno, “Sin título”, 2012, Sculpture (wire twister), 40 cm x 30 cm. Image courtesy of the artist.
Translated from Spanish
My work consists in propose to people a way of thinking that with plans or without them could unveil doubts or solutions. I would like to open a discourse where we could discuss themes that could help us solve our lives as a community. Basically, my work consists of questions and perspectives about the world with projections to the future, where armed conflicts are kids’ toys, for children that have faith in living and not in hating (to live without hate). Without forgetting to judge the ones who have brought us to these poverty conditions and misinformation. I do not consider myself conceptual or minimalist, but utilitarian of these mediums, as a precise way of approaching concrete subjects without much paraphernalia.
Mi trabajo consiste en proponer a las personas una forma de pensamiento que, con planes o sin ellos, descubran dudas o soluciones. Me gustaría poder entablar un discurso donde podamos discutir temas que nos ayuden a solucionar nuestras vidas en comunidad. Básicamente mi trabajo radica en interrogantes y perspectivas de un mundo con proyecciones al futuro donde los conflictos armados sean de juguete sin para niños que tengan fe en vivir y no en odiar (vivir sin odio). Pero sin olvidar juzgar a los que nos han llevado a estos estados de pobreza y mala información. No me considero conceptual ni minimalista, sino utilitario estos medios como forma precisa de abarcar temas más concretos sin tanta parafernalia.
Selected Biographical Information
Prizes / Fellowships
- 2001: Golden Lion for best young artist, 49th Venice Biennal, Venice, Italy.
- 1996: First Prize “Glifo de oro” X Bienal de Arte Paiz. Category: Invited artists. Guatemala 1994.
- 1996: First Prize “Glifo de oro” IX Bienal de Arte Paiz. Guatemala.
- 1996: First Prize “Mención de honor” IX Bienal de Arte Paiz, Category: General. Guatemala.
Solo Exhibitions
- 2004:”Anibal López – A-1 53167″, Fondazione Adriano Olivetti, Rome and Associazione Prometeo per l’Arte Contemporanea, Lucca, Italy.
Group Exhibitions
- 2011: “Economía informal”, (Ex)Céntrico – Centro Cultural de España en Guatemala, Guatemala City, Guatemala.
- 2007: “Cátedra arte de la Conducta”, La Habana, Cuba.
- 2006: “Colectiva”, prometeogallery di Ida Pisani, Milan, Italy.
- 2006: “Drawings on paper”, Carlos Woods Gallery, Guatemala City, Guatemala.
- 2006: “The Power of Economy”, Festival dell’economia, Galleria Civica di Arte Contemporanea, Trento, Italy.
- 2006: “Frontera corozal. Un chol fotografando a un lacandon”, Chiapas, Mexico.
- 2005: “Gratis”, Sol del Rio Arte Contemporaneo, Guatemala City, Guatemala.
Publications
- UNIVERSES IN UNIVERSE. Entrevista con Pat Binder & Gerhard Haupt, durante la 49na. Biennale di Venezia.
- Viviane Lorea, Catalogo: Mesoamerica, Osilaciones y Artificios.Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria Pags.: 32, 33, 127, 129,
- Catalogo: Last Minute, Verso la Fine Dell’eternita A cura di Lara facco e Lino Baldini, 12 di Maggio – 16 giugno 2002 Organizzazione a Cura delle Gallerie
- Pianisimo (Milano) e Placentia Arte (Piacenza) Pag.: 42.
- Rocina Cazali, Catalogo di la 49 Biennale di Venezia, Italia
- Javir Fuuentes Feo Revista magna Terra
- Ariel Riwo, Revista Magna Terra
- A-1 53167 Aníbal López, “Contaminación visual”, 2013, Installation, pencil on wall. Location: 9-99 Project, Guatemala
- A-1 53167 Aníbal López, “Línea”, 2013, Ink on paper.
- A-1 53167 Aníbal López, “El proceso, Córdoba, Argentina. Fabricación de una caja de concreto en cuyo interior se colocaron fotografías de personas desaparecidas, posteriormente se destruyó.”, 2011
- A-1 53167 Aníbal López, “El proceso, Córdoba, Argentina. Fabricación de una caja de concreto en cuyo interior se colocaron fotografías de personas desaparecidas, posteriormente se destruyó.”, 2011
- A-1 53167 Aníbal López, “9mm”, 2009, Marble sculpture intervened with 9mm bullets
- A-1 53167 Aníbal López, “Escultura pasada de contrabando de Paraguay a Brasil”, 2007, 500 boxes illegally transported from Paraguay to Brazil
- A-1 53167 Aníbal López, “Dibujos sobre papel”, 2006, Site specific project. Location: Galería Carlos Woods
- A-1 53167 Aníbal López, “Dibujos sobre papel”, 2006, Site specific project. Location: Galería Carlos Woods
- A-1 53167 Aníbal López, “Arma de defensa personal”, 2005, Performance, peddler was asked to sell river stones. Location: Guatemala City.
- A-1 53167 Aníbal López, “Arma de defensa personal”, 2005, Performance, peddler was asked to sell river stones. Location: Guatemala City.
- A-1 53167 Aníbal López, “Listón de Plástico Negro de 120 m de largo x 4 m de ancho colgado sobre el Puente del Incienso”, 2002, Black plastic strip, 120 m long x 4 m.
- A-1 53167 Aníbal López, “30 de Junio. Guatemala, Guatemala.Diez sacos de carbon esparcidos sore la sexta avenida, una de las calles principals de la ciudad de Guatemala, sobre la que desfila (por última vez) el ejército de Guatemala. Durante el genocidio efectuado contra aldeas y campesinos indígenas, sus restos fueron quemados y enterrados en fossa communes. A dicha operación se le llamó “tierra arrasada”. Hasta hoy existen dichos depósitos de carbon.”, 2000, Ten bags of charcoal scattered on Sixth Avenue, one of the main streets of Guatemala City, on this street the Guatemalan army realized a parade (for the last time). This action recalls the genocide against villages and indigenous peasants, who were burned and buried in mass graves. This operation was called “scorched earth”. To this day these carbon deposits still exist.
- A-1 53167 Aníbal López, “30 de Junio. Guatemala, Guatemala.Diez sacos de carbon esparcidos sore la sexta avenida, una de las calles principals de la ciudad de Guatemala, sobre la que desfila (por última vez) el ejército de Guatemala. Durante el genocidio efectuado contra aldeas y campesinos indígenas, sus restos fueron quemados y enterrados en fossa communes. A dicha operación se le llamó “tierra arrasada”. Hasta hoy existen dichos depósitos de carbon.”, 2000, Ten bags of charcoal scattered on Sixth Avenue, one of the main streets of Guatemala City, on this street the Guatemalan army realized a parade (for the last time). This action recalls the genocide against villages and indigenous peasants, who were burned and buried in mass graves. This operation was called “scorched earth”. To this day these carbon deposits still exist.
- A-1 53167 Aníbal López, “Mancha de 55,000 puntos”, 2002, Intervention on newspaper Siglo XXI, Guatemala
- A-1 53167 Aníbal López, “Punto en movimiento”, 2002, Intervention on urban space, Guatemala
- A-1 53167 Aníbal López, “La Distancia entre dos puntos”, 2002, Sol Del Río Arte Contemporáneo, Guatemala
Translated from Spanish
The expressive possibilities and the contact with material that oil painting give me, are essential in the construction of my geometric paintings. I can even subordinate some of my ideas to the impulses of the material, as if it had a conscience parallel to my state of will. In this delicate balance, straight lines, angles, spirals, curves, accumulations of dots, and wavelengths appear on the surface of the canvas. Many of these elements of composition that I transfer from the field of scientific representation to the field of art, help me define my interest on some concepts: truth/false, my relationship with Op Art, the movement of the gaze and perception, among others. As an example, Líneas paralelas (parallel lines) is one of the works that questions reality or at least it questions it as a convention. A painting of straight lines that because of tonality, contrast, and arrangement of the squares, they look curved. Can we say they are not? Empirically, they are not, but they are to our perception, and in this case, this is what prevails. Isn’t “truth” what we see? Does accuracy matter in art? I think, for example, in Albers and his theory of color. In the same way, the works from the series Velocidad (speed) are fragments of the light spectrum, which I multiply forward, backwards, up and down. In this way, we see some of the colors that are the same, differently. Geometry interests me in this sense too.
Back when I began to draw still lives as an academy student, the teachers told me not to draw figures but the spaces between them. In a way, this originated in me the seed of geometric abstraction. I would say I still have a fascination for the process of abstracting the invisible from the visible. Years later, contemporary geometric art means to me the same as always: the supremacy of the forms and the invisible spaces over naturalism. We give noise or silence to a form through composition, and it is from that place where we are committing our position or view of the world. In this sense, I like to understand art in the words of these two Argentinean poets, Olga Orozco: “Art is a reflection of the invisible;” and Léonidas Lamborghini: “Poetry is not the music of the soul but the silence of intelligence.” It is as if art and poetry would appear when there is nothing else to say. In this sense, subtraction also operates in my paintings as a tool that I use to define concepts.
In the works of the exhibition El amor probablemente, 2005, I used some names and icons of art (Jesús Soto, Morandi, and Bridget Riley, among others) as a possibility for a historical “dialogue”, but this dialogue, due to the density and imprint of the artists, could not be made through derivation, continuity or contribution without misinterpretation. In a way, I had to destroy those works to make reverence afterwards. In the historical evolution, “conversations” amongst contemporary artists of from different eras, were often of consolidation or continuity of their postulates. But when Soto saw Mondrian, he asked himself how to continue with painting from there, how to follow from the place Mondrian had left of, and when he remembered the light with silver white in the water reflections from the paintings by Reverón, he saw the possibility of incorporating movement to his paintings and developing the idea of a more optical art. What is relevant to me from this historical moment is the need of the artist of relating to his/her equals. En el amor… (in love…) I tried to make a work from the author’s self-consciousness, a sort of painting inside a painting. It was a hinge in my work, in the sense that I added to my formal relationship with science the concept of painting as a legacy, or as a more intense dialogue with previous movements, and especially with some artists. Subtraction then functioned more indispensably to continue these close relationships.
I remember a work by Soto that inspired such love from me to it that I had to become physically involved. It was a background with lines in black and white and in the front had black metal wires hanging. When one moved, the background also produced movement. Soto said that to give movement to a work he didn’t need a motor. I partially reproduced this work but omitted the wire and substituted the black lines from the background for blue and then ochre. In this way, and due to the ability of oil to keep the “breathing” of the color underneath, that a simple effect of movement was increased substantially. Even without Soto’s wires, the work did not stop its motion, meaning that I understood that they were not necessary for the purpose of going beyond the plane. This work, just as more recent ones, are which give me the guidelines and desire to work more intensively within geometry.
Las posibilidades expresivas y el contacto con la materia que me proporciona la pintura al óleo son móviles esenciales en la construcción de mis cuadros geométricos. Puedo incluso subordinar algunas de mis ideas a los caprichos de la materia, como si ésta tuviera una conciencia paralela a mi estado de voluntad. En este delgado equilibrio van apareciendo o desplazándose sobre la superficie de la tela: formas rectas, ángulos, espirales, vértices, acumulaciones de puntos, longitudes de onda. Muchos de ellos elementos de composición que mudo del campo de las representaciones científicas al de las artes y que me sirven para delinear mi interés sobre algunos conceptos: verdad/falsedad, mi relación con el Op art, desplazamiento de la mirada y de la percepción, entre otros. A modo de ejemplo, Líneas paralelas es uno de los cuadros que pone en duda la verdad o al menos la cuestiona como convención. Un cuadro de líneas rectas que por un tema de valor de los tonos, contraste y desplazamiento de los cuadrados, se ven curvas. ¿Acaso podemos decir que no lo son?, empíricamente no, pero para nuestra percepción sí, y en tal caso, aquí eso es lo que prima. ¿No es acaso “verdad” lo que vemos?; ¿importa la comprobación en el arte? Pienso en Albers y su teoría de color por ejemplo. Del mismo modo, los cuadros de la serie Velocidad son fragmentos del espectro lumínico que multiplico hacia adelante, hacia atrás, para arriba y para abajo; de esta manera algunos colores que son iguales los vemos diferentes. La geometría me interesa en ese sentido también.
Cuando de estudiante en la academia comencé a dibujar naturalezas muertas, los profesores me decían que dibujara no las figuras sino los espacios entre ellas, de alguna manera esto creó en mí el germen de la abstracción geométrica. Diría que me quedó cierta fascinación por el proceso de abstraer lo invisible de lo visible. Años después, el arte geométrico contemporáneo significa para mí lo mismo que siempre: la supremacía de las formas y los espacios invisibles por sobre el naturalismo. El ruido o silencio de una forma lo damos en la composición y ahí es que estamos comprometiendo nuestra posición o mirada frente al mundo. En este sentido me gusta entender el arte en las frases de estos dos poetas argentinos; Olga Orozco: “El arte es el reflejo de lo invisible” y Leónidas Lamborghini: “La poesía no es la música del alma sino el silencio de la inteligencia”. Es como si el arte y la poesía aparecieran cuando ya no hay nada más para decir. En este sentido la sustracción también opera en mis pinturas como una herramienta que utilizo para la definición de conceptos.
En los cuadros de la muestra El amor probablemente, 2005, utilicé algunos nombres e iconos del arte (Jesús Soto, Morandi, Bridget Riley, entre otros) como posibilidad hacia alguna forma de “diálogo” histórico, pero este diálogo, por la espesura y huella de estos artistas, no podía darlo a partir de una derivación, continuidad o aporte hacia ellos sin antes violentarlos. De alguna manera debía destruir esos cuadros para poder reverenciarme luego. En el devenir histórico las “conversaciones” entre artistas contemporáneos o de diferentes épocas solían ser muchas veces de profundización o continuidad de sus postulados. Pero cuando Soto observó a Mondrian se preguntó cómo seguir con la pintura a partir de ahí, cómo seguir desde el punto que Mondrian la había dejado, y recordando los golpes de luz con blanco de plata en los reflejos del agua de las pinturas de Reverón, vio como posibilidad el incorporar movimiento a sus pinturas e ir desarrollando la idea hasta la aparición de un arte más óptico. Lo importante para mí en este episodio histórico, es la necesidad del artista en relacionarse con sus pares. “En el amor…” intenté hacer un trabajo más desde la autoconciencia del pintor, una suerte de pintura dentro de la pintura. Fue una bisagra para mis trabajos en el sentido que sumé a mi relación formal con la ciencia el concepto de pintura como un legado, o en tal caso como un diálogo más intenso con los movimientos anteriores y en particular con algunos artistas. La sustracción entonces, operó aquí de una manera indispensable para continuar esas estrechas relaciones.
Recuerdo una obra de Soto que despertó tal amor de mí hacia ella que debí involucrarme físicamente. Era un fondo de rayas en blanco y negro y delante colgaban unas varillas negras de metal. Al moverse uno, en el fondo también se producía movimiento. Soto decía que para poner en movimiento la obra no necesitaba ningún motor. Reproduje parcialmente esa obra pero le suprimí las varillas y sustituí el negro de las líneas del fondo, primero con azul y luego una última mano de ocre; de esa manera y por esa capacidad que tiene el óleo de mantener la “respiración” del color de abajo, un simple efecto de movimiento fue potenciado sustancialmente. Aún sin las varillas de Soto, el cuadro no detenía su movimiento, es decir que advertí que no era necesario para lograr ese fin, ir más allá del plano. Este trabajo como otros más actuales en mi producción son los que me van dando las pautas y el deseo de trabajar con intensidad dentro de la geometría.
Selected Biographical Information
Education / Training
- 1993-91: Beca de la Fundación Antorchas, coordinada por Guillermo Kuitca, Buenos Aires, Argentina.
- 1988-87: Taller de Ahuva Szlimowicz, Buenos Aires, Argentina.
- 1987-85: Taller de Felipe Noé, Buenos Aires, Argentina.
Prizes / Fellowships
- 1993-91: Beca de la Fundación Antorchas, coordinada por Guillermo Kuitca. Buenos Aires, Argentina.
- 2002: Segundo premio, Premio Aerolíneas Argentinas a las Artes Visuales, Buenos Aires, Argentina.
- 1996: Subsidio Anual a la Creación, Fundación Antorchas, Buenos Aires, Argentina.
- 1991: Mención de Honor, Premio Nuevo Mundo para jóvenes artistas, Museo Nacional de Bellas Artes, Buenos Aires, Argentina.
- 1987: Mención especial, Premio Quinquela Martín, Museo Eduardo Sívori, Buenos Aires, Argentina.
Solo Exhibitions
- 2013: “Comiéndose a Raúl“, Galería Vasari, Buenos Aires, Argentina.
- 2010: “Abstracta”, Galería Dabbah Torrejón, Buenos Aires, Argentina.
- 2007: “Conferencia de Prensa“, Galería Alejandra Von Hartz, Miami, USA.
- 2007: “Fabián Burgos”, Galería de Arte 5006, Hotel Design Suites, Buenos Aires, Argentina.
- 2005: “El amor probablemente”, Galería Dabbah Torrejon, Buenos Aires, Argentina.
- 2003: “MC5 Misceláneas”, Centro Cultural Recoleta, Buenos Aires, Argentina.
- 2003: “MC5 Misceláneas”, Teatro Auditorium, Mar del Plata, Buenos Aires, Argentina.
- 2000: “Fabián Burgos”, Annina Nosei Gallery, Nueva York, USA.
- 2000: “Ilusión de ver”, Galería Dabbah Torrejon, Buenos Aires, Argentina.
- 1997: “Works on canvas”, Annina Nosei Gallery, Nueva York, USA.
- 1994: Centro Cultural Ricardo Rojas, Buenos Aires, Argentina.
- 1993: ICI, Instituto de Cooperación Iberoamericana, Buenos Aires, Argentina.
Group Exhibitions
- 2011: Espacio Arte American Express, Buenos Aires, Argentina.
- 2011: “Recovering Beauty: The 1990s in Buenos Aires”, Blanton Museum of Art, Houston, Texas, USA.
- 2011: “Punto Línea Curva”, Curator Philippe Cyroulnik, Galería del Infinito, Buenos Aires, Argentina.
- 2011: Subasta 2011, Centro Cultural Recoleta, Buenos Aires, Argentina.
- 2011: Art First, Colección MACBA Museo de Arte Contemporáneo de Buenos Aires, Fundación Pablo Atchugarry, Manantiales, Punta del Este, Uruguay.
- 2011: “4 Museos + 40 Obras. Muestra Itinerante de Colección MACBA”, Museo Nacional de Bellas Artes de Neuquén, Argentina, Museo Emilio Caraffa, Córdoba, Argentina, Centro Cultural del Bicentenario de Santiago del Estero, Argentina, Museo de Arte Contemporáneo Latinoamericano de La Plata, Provincia de Buenos Aires, Argentina.
- 2010: “30 Años”, Subasta, Centro Cultural Recoleta, Buenos Aires, Argentina.
- 2009: “Arte en el Plata”, Intervención artística sobre la fachada del Edificio del Plata, Buenos Aires, Argentina. Curators: Inés Katztenstein y Eva Grinstein.
- 2009: “El color en toda su diversidad”, Centro Cultural Borges, Buenos Aires, Argentina, Curator: Philippe Cyroulnik.
- 2009: “Geometrías dislocadas”, Burgos, Door, Siquier, Sala Mendoza, Caracas, Venezuela.
- 2009: “All Boys”, en el Rosa x 6, in charged: Rocío Paladini, Santa Fe, Argentina.
- 2009: “Escuelismo. Arte argentino de los 90”, MALBA Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires, Argentina.
Publications
- 2011: Pintura Latinoamericana Contemporánea. Edward Shaw. Santiago de Chile. Chile.
- 2011: Catálogo 4 Museos + 40 Obras. Colección MACBA. Museo de Arte Contemporáneo de Buenos Aires. Argentina.
- 2011: Catálogo Recovering Beauty: The 1990s in Buenos Aires .Published by The Blanton Museum of Art at the University of Texas at Austin. Houston.Texas. USA.
- 2010: Arte Cinético y neocinetismo. Hitos y nuevas manifestaciones en el siglo XXI. Elena Oliveras. Emecé Arte
- 2009: Como el amor. Valeria González y Máximo Jacoby. Libros del Rojas. Universidad de Buenos Aires. Buenos Aires. Argentina.
- 2006: Revista Inrockuptibles, Buenos Aires, Argentina / Rial Ungaro, Santiago, Radar, diario Página 12, Buenos Aires, Argentina / López Anaya, Jorge, diario La Nación, Buenos Aires, Argentina.
- 2005: Curadores. Entrevistas. Gumier Maier. Libros del Rojas. Universidad de Buenos Aires. Buenos Aires. Argentina.
- 2003: Rial Ungaro, Santiago, “El Coleccionista” Radar, diario Página 12, 6 de julio de 2003. Buenos Aires, Argentina / Bouts, Fernando, “Fabián Burgos y sus recortes”, revista Ricardito. Agosto de 2003, Buenos Aires, Argentina.
- 2001: Pintura Argentina. Final del siglo XX (II). Ediciones Banco Velox. Buenos Aires. Argentina.
- 2000: De Ambrosini, Silvia, “Broche ciencia-arte”, revista Artinf, Nro. 110, 2000, Buenos Aires, Argentina / López Anaya, Jorge, “Versiones del mismo mundo”, diario La Nación, 15 de octubre de 2000, buenos Aires, Argentina / Grinstein, Eva, “La realidad, una ilusión que se percibe con los cinco sentidos”, diario El Cronista Comercial, 27 de septiembre de 2000, Buenos Aires, Argentina / Diéguez Videla, Albino, “ El valor y el “precio” del arte”, diario La Prensa, 24 de septiembre de 2000, Buenos Aires, Argentina / Kuropatwa, Alejandro, “Al agua patawa”; Bruzzone, Gustavo.
- 2000: “Exaltando la óptica”; Baccetti, R, “Otra Galería otra!”; Moyal, M, “Cuadros de adictiva vibración”, revista Ramona, Octubre de 2000, Buenos Aires, Argentina.
- 1999: “Artistas argentinos de los `90” (Fondo nacional de las Artes, Buenos Aires, Argentina, 1999). Págs. 100,101,219-224 y 225.
- 1998: Grinstein, Eva, “ArteBA, cambios y persistencias”, diario El Cronista Comercial, 20 de mayo de 1998, Buenos Aires, Argentina.
- 1996: Katzenstein, Inés, “Ballesteros, Burgos y Kacero: la plástica y la ciencia en contacto”, diario El Cronista Comercial, 31 de julio de 1996, Buenos Aires, Argentina / Lebenglik, Fabián, “Consecuencias insospechadas” diario Página 12, 30 de julio de 1996, Buenos Aires, Argentina.
- 1995: Tager, Alisa, “Report from Buenos Aires: Argentine Artifice” revista Art in America, septiembre 1995. Miami, USA.
- 1992: Dibar, Juan Carlos, “Dos muestras de artistas argentinos”, diario El Cronista Comercial, 21 de junio de 1992, Buenos Aires, Argentina / Oliveras, Elena, “Pluralismo”, diario Clarín, 10 de octubre de 1992, Buenos Aires, Argentina.
- Fabián Burgos, “Velocidad marrón”, 2005, Oil on canvas, 170 x 230 cm. Image courtesy of the artist.
- Fabián Burgos, “Velocidad en círculo”, 2010, Oil on canvas, 130 x 0 cm. Image courtesy of the artist.
- Fabián Burgos, “Rotación sobre Max Bill”, 2005, Oil on canvas, 185 x 185 cm. Image courtesy of the artist
- Fabián Burgos, “Sin fin”, 2013, Oil on canvas, 120 x 2015 cm. Image courtesy of the artist.
- Fabián Burgos, “Giro y círculos sobre rojo”, 2009, Oil on canvas, 146 x 159 cm. Image courtesy off the artist.
- Fabián Burgos, “Borroso (línea central)”, 2010, Oil on canvas, 96 x 121 cm. Image courtesy of the artist.
- Fabián Burgos, “Velocidad con círculos”, 2010, Oil on canvas, 170 x 200 cm. Image courtesy of the artist.
- Fabián Burgos, “Líneas paralelas roja”, 2010, Oil on canvas, 150 x 150 cm. Image courtesy of the artist.
- Fabián Burgos, “Desplazamiento (políptico 2)”, 2008, Oil on canvas, 30 x 180 cm. Image courtesy of the artist.
- Fabián Burgos, “Líneas paralelas (mural – imagen parcial)”, 2007, Acrylic on wall, 2,5 x 8 mts, Site specific Project. Location: Montbeliard (Francia). Image courtesy of the artist.
- Fabián Burgos, “Líneas paralelas (mural- imagen completa)”, 2007, Acrylic on wall, 2,5 x 16 mts, Ste specific Project. Location: Montbeliard (Francia). Image courtesy of the artist.
- Fabián Burgos, “Espiral amarillo”, 2010, Oil on canvas, 118 x 150 cm. Image courtesy of the artist.
- Fabián Burgos, “Espiral azul”, 2010, Oil on canvas, 190 x 240 cm. Image courtesy of the artist.
- Fabián Burgos, “Sin fin Nº 2”, 2010, Oil on canvas, 190 x 243 cm. Image courtesy of the artist.
- Fabián Burgos, “Kramnik us Portich (1983)”, 2010, Series: Tableros, Oil on canvas, 144 x 149 cm. Image courtesy of the artist.
Translated from Spanish
Painting to me exists as an extension beyond the space-time limits where I put to test anti-epistemological values that aim to question some essentialist posture of the symbolic domain. They are sets, or sometimes equations that arise from a deliberate economy of resources and studies that explore the consequences of modernity in the representation of identitarian images (for example Casta paintings from the 19th century), or the conceptual limits of the history of modernity itself.
Para mi existe la pintura como una extensión más de los límites espacio-temporales donde pongo a prueba valores contra-epistemológicos que buscan cuestionar algunas posturas esencialistas del dominio simbólico. Son escalas, a veces ecuaciones que surgen de una deliberada economía de recursos y estudios que exploran las consecuencias de la modernidad en la representación de imágenes identitarias, (como por ejemplo la pintura de castas del siglo XIX) o bien, los límites conceptuales de la historia misma de la modernidad.
Selected Biographical Information
Education / Training
- 2010: Universidad Nacional Autónoma de Honduras, 5 años, Licenciado en Sociología, Tegucigalpa, Honduras.
- 1995: Escuela Nacional de Bellas Artes, 5 años, Maestro en Artes Plásticas, Tegucigalpa, Honduras.
Prizes / Fellowships
- 1995: Primer premio Bienal de Escultura y Cerámica, IHCI, Tegucigalpa, Honduras.
- 2007: Antología de las Artes Visuales, Tegucigalpa, Honduras.
- 2013: Premio Illy Sustain Art, Venecia.
Solo Exhibitions
- 2013: “Pintura Política”, Galería PM8, Vigo, Spain.
- 2013: “Eccepolis”, Sala Luis Miro Quesada, Lima, Perú.
- 2012: “Frescos Fetiches”, Centro de Artes Visuales, Tegucigalpa, Honduras.
- 2012: “Charter City”, Museo de Arte y Diseño Contemporáneo, San José, Costa Rica.
- 2012: “Sedimentos”, Ex-Teresa, Arte Actual, Mexico City, Mexico.
- 2012: “Topografías”, Solo Project, ARCO Madrid, Spain.
- 2011: Galería 80m2, Lima, Perú.
- 2008: “Dis-tensiones”, Centro Cultural de España, Tegucigalpa, Honduras.
- 2007: “Sociedad Ilícita”, Fundación Teorética, San José.
- 2007: “Denominaciones y Retroscopías”, Costa Rica.
- 2006: “El Poder de la Asepsia”, Image Art Factory Foundation, Belize City, Belize.
- 2005: Galería Portales, Tegucigalpa, Honduras.
- 1995: “Panópticos”, Galería Paradiso, Tegucigalpa, Honduras.
Group Exhibitions
- 2013: “California-Pacific Triennial”, Orange County Museum of Art, CA, USA.
- 2013: Musem of Latin American Art, Long Beach C.A, USA.
- 2013: “Intersections”, 7a Bienal de Curitiba, Brazil.
- 2012: “You will never walk alone again”, Radiator Gallery, New York, USA
- 2012: “Caribbean: Crossroads of the World”, Museo del Barrio, New York, USA.
- 2011: “(S) Files”, Bienal del Museo del Barrio, New York, USA.
- 2011: “Entre Siempre y Jamás”, 54 Bienal de Venecia, Italy.
- 2011: “Miradas Sin coordenadas”, La Casona, Galería 80m2, Lima, Perú.
- 2011: “Triangulo C-S-C, video arte de América Latina”, Ex Teresa Arte Actual, Mexico City, Mexico.
- 2010: Muestra Internacional de Performance, Mexico City, Mexico.
- 2010: Bienal del Istmo Centroamericano, Managua, Nicaragua.
- 2010: I Trienal del Caribe, Santo Domingo, República Dominicana.
- 2010: Bienal de Artes Visuales, Tegucigalpa, Honduras.
- 2010: Bienal de Pontevedra, Spain.
- 2010: Centroamérica Unida por el Arte, El Sitio, Antigua Guatemala.
- 2009: Centro Cultural de España, San Salvador, El Salvador.
- 2009: “Migraciones. Mirando al sur”, La mancha de tomate, Tegucigalpa, Honduras.
- 2009: “Pintura. Proyecto Incompleto”, Centro de Formación de la Cooperación Española, Antigua, Guatemala.
- 2009: Fortaleza de San Carlos de la Cabaña, la Habana, Cuba, Décima Bienal de la Habana, Cuba.
- 2009: ” Nostalgia de Futuro”, Museo de Arte Contemporáneo, Valencia, Spain.
- 2009: “Migraciones. Mirando al sur”, Centro de Cultura Hispánica, Tegucigalpa, Honduras.
Publications
- Fuentes Guaza, Luisa. Ustedes Nosotros, editorial Index Book, España, 2010, 303 pag.
- Fuentes Guaza, Luisa. Lenguajes Contemporáneos desde Centro América, 2013, 400 pag.
Collections
- Daros Latin-américa, Zurich, Switzerland.
- Colección Patricia Phelps de Cisneros, Nueva York-Caracas.
- Museo de Arte y Diseño Contemporáneo, San José, Costa Rica.
- Fundación Teorética, San José, Costa Rica.
- Museum of Latin American Art (Molaa), Long Beach, California, USA.
- Saxo Bank, Denmark.
- Fundación Ortiz-Gurdian, Leon, Nicaragua.
- Image Art Factory Foundatión, Belize City, Belize.
- Adán Vallecillo, “Pantone”, 2013, Installation, Dimensions variable. Galería 80m2, Lima, Perú. Photo credit: Adán Vallecillo.
- Adán Vallecillo, “Acordes V”, 2012, Assembly, Dimensions variable. Sayago & Pardon Collection. Photo credit: Adán Vallecillo.
- Adán Vallecillo, “Mulato”, Series: Pintura de Castas, Acrylic / canvas with embedded level, 65 x 60 cm. Sayago & Pardon Collection. Photo credit: Tomas S.K.
- Adán Vallecillo, “Topgrafía I”, 2012, Series: Topografías, Recycled tires on racks, 280 x 720 cm. CIFO Collection, Miami, USA. Photo credit: Xose Quiroa.
- Adán Vallecillo, “Loba”, 2011, Series: Pintura de Castas, Painting, 90 x 100 cm. Galería 80m2, Lima, Perú. Photo credit: Tomas S.K.
- Adán Vallecillo, “Criolla y Morisca”, 2011, Series: Pintura de Castas, Acrylic / canvas with embedded level, 90 x 95 cm. Galería 80m2, Lima, Perú. Photo credit: Adán Vallecillo.
- Adán Vallecillo, “Castiza”, 2011, Series: Pintura de Castas, Acrylic / canvas with embedded level, 60 x 65 cm. Galería 80m2, Lima, Perú. Photo credit: Tomas S.K.
- Adán Vallecillo, “Pintura Mural Curitiba”, 2013, Series: Pintura Mural, Performance, Dimensions variable. Curitiba, Brasil. Photo credit: Renan Guedes Gumiel.
- Adán Vallecillo, “Banderolas”, 2013, Series: Pintura política, Wood assembly, Dimensions variable. Galería 80m2, Vigo, España. Photo credit: Francisco Salas.
- Adán Vallecillo, “Provocación IV”, 2009, Series: Provocaciones a Mondrian, Acrylic on canvas with embedded level, 90 x 100 cm. Saxo Bank Collection, Denmark. Photo credit: Adán Vallecillo.
- Adán Vallecillo, “Provocación V”, 2009, Series: Provocaciones a Mondrian, Acrylic / canvas with embedded level, 100 x 100 cm. Private collection, Florida. Photo credit: Adán Vallecillo.
- Adán Vallecillo, “Provocación XV”, 2012, Series: Provocaciones a Mondrian, Acrylic on canvas and wood, 85 x 40 cm. Private collection, USA. Photo credit: Adán Vallecillo.
- Adán Vallecillo, “Remesa Republic V”, 2008, Series: Remesa Republic, Installation, Dimensions variable. Artist Workshop, Honduras. Photo credit: Adán Vallecillo.
- Adán Vallecillo, “Civilización IV”, 2013, Series: Civilizaciones, Rubber patches, 300 x 225 cm. Galería 80m2, Lima, Perú.
- Adán Vallecillo, “Civilización V”, 2013, Series: Civilizaciones, Rubber patches, 300 x 225 cm. Galería 80m2, Lima, Perú.
Selected Biographical Information
Education / Training
- 2013: Programa Di tella, Universidad Torcuato Di tella.
- 2011: CIA, Centro de Investigaciones Artisticas.
- 2010: Lipac, Laboratorio de Investigación en Prácticas Artísticas Contemporáneas.
- 2007: Licenciatura en Artes Visuales, A, Instituto Universitario Nacional.
Solo Exhibitions
- 2013: “Disponibilidad Arriesgada”, Galería Inmigrante, Buenos Aires, Argentina.
- 2012: “Atlas”, Hora del Té, Buenos Aires, Argentina.
- 2011: “Pollo Frito”, Rayo Lazer, Buenos Aires, Argentina.
- 2011: “La Tierra Permanece”, Jardín Oculto Galería, Buenos Aires, Argentina.
Group Exhibitions
- 2013: “Des)afectos”, Biquini Wax, Mexico City.
- 2013: “Sucursal”, Darling Foundry, Montreal, Canada.
- 2013: “Casa”, Galería Inmigrante, Buenos Aires, Argentina.
- 2012: “Monstruo II”, La Fábrica, Buenos Aires, Argentina.
Publications
- Born wild, Buenos Aires (2013).
- One Day, Haru Gallery, Jeju-do, South Korea.
- Art Spaces directory, New Museum, NY (2011).
- Mañana Temprano, Sosunc, Neuquén, Argentina.
- Maps, Mastodonte editorial, Bogotá, Colombia (2010).
- Big Sur, Buenos Aires, Argentina (2010).
- Gala Berger, “Disponibilidad Arriesgada”, 2013, Jelly, wire, spotlight, Variable dimensions. Location: Galería Inmigrante. Photo credit: Facundo Pires
- Gala Berger, “Disponibilidad Arriesgada”, 2013, Jelly, wire, spotlight, Variable dimensions. Photo credit: Facundo Pires
- Gala Berger, “Red Bean Jello”, 2009, Installation, military tent, recycled plastic, 300 x 180 x 400 cm. Site specific project. Location: Anyang Market, South Korea. Image courtesy of the artist.
- Gala Berger, “Chino para principiantes”, 2010-2011-2012, Series: Chino para principiantes, Drawing on Mao Benzhi paper, 21.59 x 35.56 cm. Photo credit: Facundo Pires.
- Gala Berger, “Las puertas”, 2013, Series: Relocalizaciones, Installation, plastic and ink, Variable dimensions. Site specific project. Location: Tepoztlán, Mexico. Image courtesy of the artists.
- Gala Berger, “Red Bean Jello”, 2009, Installation, military tent, recycled plastic, 300 x 180 x 400 cm. Site specific project. Location: Anyang Market, South Korea. Image courtesy of the artist.
- Gala Berger, “Pollo Frito”, 2011, Mask, fabric and paper, Variable dimensions. Photo credit: Facundo Pires.
- Gala Berger, “La tierra permanece”, 2011, Installation, 27 paints / 27 plants, Variable dimensions, Site specific project. Location: Jardín Oculto. Image courtesy of the artist.
- Gala Berger, “thoreau”, 2010, Plastic, rubber, paper, Variable dimensions. Photo credit: Juan Chaneton.
- Gala Berger, “La piedra que cambió las cosas”, 2013, Series: La piedra que cambió las cosas, Wood, collectible bills, Variable dimensions. Image courtesy of the artist.
- Gala Berger, “Agua Viva”, 2010, Installation, plastic, paint, tape, Variable dimensions, Site specific project. Location: Aeroparque de Buenos Aires. Photo credit: Juan Chaneton.
- Gala Berger, “Nacido Salvaje”, 2013, Paper, Variable dimensions, Site specific project. Photo credit: Facundo Pires.
- Gala Berger, “Pintura bisexual”, 2011, Painting with two sides, Side A oil, Side B ink, 190 x 140 cm. Photo credit: Facundo Pires.
- Gala Berger, “Sucursal”, 2012, Billboard, Variable dimensions, Site specific project. Location: in front of Mamba, Argentina. Image courtesy of the artist.
- Gala Berger, “s/t”, 2013, Jelly and wire on overhead projector, Variable dimensions. Image courtesy of the artist.
Translated from Spanish
My site-specific works aim to create relationship bridges between art and architecture, where the architectural space is affected. The visitors relate to each other through works that alter the perception of “reality.” The interventions intersect, juxtapose, overflow, or are contained in the exhibition space.
Some have their origin in the display of a drawing or a painting in space. While some works are more related to the context of the place of exhibition, others seek a universal communication, beyond a specific culture. Present in my works is the constant use of few elements, an interest in shadow, void, absence, the passage of time, death. The most recent work explores from the visual arts to the geometric impossibility of relating parallel worlds through narratives.
Mis trabajos site-specific buscan construir puentes de relación entre Arte y Arquitectura, en donde el espacio arquitectónico es afectado. Los visitantes se relacionan entre sí a través de obras que alteran la percepción de “realidad”. Las intervenciones intersectan, se superponen, desbordan o son contenidas por el espacio de exhibición.
Algunas tienen su origen en el despliegue de un dibujo o una pintura en el espacio. Mientras unos trabajos están más ligados al contexto del lugar de exposición, otros buscan una comunicación universal, más allá una cultura específica. En mis obras se puede leer una constante en la utilización de pocos elementos, y el interés por la sombra, el vacío, la ausencia, las huellas del tiempo, la muerte. El trabajo más reciente explora desde las artes plásticas la imposibilidad geométrica de relacionar mundos paralelos a través de narrativas.
Selected Biographical Information
Education / Training
- 2000 Maestría interdisciplinaria en Arte y Arquitectura, (Prof. Christian Megert, Prof. Gerhard Merz), Academia de Arte de Dusseldorf, Germany.
- 1993 Arquitecto, Universidad de Los Andes, Bogotá, Colombia.
- 1991 Semestre de intercambio, Academia Real Danesa de Bellas Artes, Copenhague, Denmark.
Prizes / Fellowships
- 2012: Beca de investigación artística. Tras los pasos del mito Germania. DAAD (Servicio Alemán de Intercambio Académico), Berlín, Germany.
- 2009: Residencia Artística. Verein zur Förderung künstlerischer Projekte mit gesellschaftlicher Relevanz e.V., Wiesbaden, Alemania Beca de investigación artística. Palimpsestos urbanos en Berlin 20 años después de la caída del muro. DAAD (Servicio Alemán de Intercambio Académico), Berlín, Germany.
- 2007: Finalista. Premio Luis Caballero IV Versión, Bogotá, Colombia 2005 Mención de Honor. Premio Memoria.
- 2005: Holocausto del Palacio de Justicia, 20 años, Medellín, Colombia 2004 Ganador Concurso de Exposiciones. Secuela de Zeuxis y Parrhasios, Galería Santa Fe, Bogotá, Colombia.
- 1997 – 2000: Beca del DAAD (Servicio Alemán de Intercambio Académico), Bonn, Germany.
Solo Exhibitions
- 2013: “Herencia incómoda y Matrioshka-Germania”, Servicio de Información y Prensa del Gobierno Federal, Berlin, Germany.
- 2013: “Herencia incómoda y Matrioshka-Germania”, Academia de Las Artes, Pariser Platz 4, Berlín, Germany.
- 2012: “Atrapaluces y Matrioshkas”, Galería Alonso Garcés, Bogotá, Colombia.
- 2011: “Vórtice”, Sala de Arte, Casa de la Música, Programa ALBO (MAMM / EPM), Medellín, Colombia.
- 2010: “Como les guste”, LA Galería, Bogotá, Colombia.
- 2009: “Raumableitung”, Bellevue-Saal, Wiesbaden, Germany.
- 2008: “Zafiro y Acero”, Fundación Valenzuela y Klenner, Bogotá, Colombia.
- 2007: “Algebra”, Alianza Colombo Francesa, Sede Centro, Bogotá, Colombia.
- 2007: “Circundante”, IV Premio Luis Caballero, Galería Santa Fe, Bogotá, Colombia.
- 2004: “Secuela de Zeuxis y Parrhasios”, Galería Santa Fe, Bogotá, Colombia.
Group Exhibitions
- 2010: “7 Bienal de Arquitectura: Puntos de fuga”, Museo de Arte Moderno (MAMM), Medellín, Colombia.
- 2009: “Pinta Art Fair”, RJ Fine Arts, Nueva York, USA.
- 2009: “Feria Internacional de Arte de Bogotá”, LA Galería, Bogotá, Colombia.
- 2009: “Positionen 09”, Seewerk-Moers, Germany.
- 2009: “Diálogo: entre materias, entre naciones”, Museo de Arte Moderno, Bogotá, Colombia.
- 2008: “MOLAA Awards 08”, Museum of Latin American Art, Long Beach, California, USA.
- 2007: “In praise of shadows”, RJ Fine Arts, Third Rail Studio, New Rochelle, Nueva York, USA.
- 2001: “Transit”, Warehouse Garden Pier, Nagoya, Japan.
- 2000: “L’eau. Sala de exposiciones”, Alcaldía de Saint-Paul de Vence, France.
- 1998: “Kulturkoffer”, Centro Cultural Rod El-Farag, El Cairo, Egypt.
Publications
- 2008: Edgar Guzmanruiz: Trabajos seleccionados 1998 – 2008, ISBN: 978-958-445127-9, Bogotá, Colombia.
- 2007: Altares: arte para arrodillarse en “Creer y Poder hoy: Cátedra Manuel Ancízar”, p. 179-212, ISBN: 978-958-701-746-5, Universidad Nacional de Colombia, Bogotá, Colombia.
- 2007: No lugares y fotografía contemporánea en revista virtual “El Niuton” (Ed. 04), p. 79-90: http://elniuton.com/indiceart.php?pag=3, ISSN: 1909-504X, Bogotá, Colombia.
- 2007: IV Premio Luis Caballero No.5, Circundante, Proyecto de Edgar Guzmanruiz, ISSN: 1909-36599, Bogotá, Colombia.
- 2004: El laberinto como mito y símbolo en Revista “Escala” #197-198, p. 111-119, ISSN: 01206702, Bogotá, Colombia.
- 2003 Mazzocchio storto en “Entwürfe”, Seltmann & Hein, p. 61-67, ISBN: 3-934687-0, Dusseldorf, Germany.
Collections
- Matrioshka III (Opaca) caos-orden, Colección MAMM.
- Museo de Arte Moderno de Medellín, Medellín, Colombia.
- Ausencia II, Colección Museo de Arte Moderno, Bogotá, Colombia.
- Corte, MOLAA – Museum of Latin American Art, Long Beach, California, USA.
- Mazzocchio storto, Colección de Arte Banco de la República, Bogotá, Colombia.
- Denn alles Fleisch es ist wie Gras, Berliner Unterwelten e.V., Berlín, Germany.
- Umkippende Objekte, Anonyme Begegnung, Museo Schloss Freudenberg, Wiesbaden, Germany.
Links
- Edgar Guzmanruiz, “Tejido”, 2013, Gesso, metalic screen, 30 x 30 x 3.4 cm. Image courtesy of the artist
- Edgar Guzmanruiz, “Atrapaluces”, 2012, Installation, cloth, nylon, metal cable, 5.34 x 6.2 x 14.56 M, Site specific project. Location: Bogotá, Colombia. Image courtesy of the artist
- Edgar Guzmanruiz, “Vórtice”, 2011, Installation, cardboard, wood, metal cable, furniture, 10.82 x 29.6 x 10.5 M. Site specific project. Location: Medellín, Colombia. Image courtesy of the artist
- Edgar Guzmanruiz, “Circundante”, 2007, Installation, cord, mirrors, eyelets, 3.24 x 8 x 55 M, Site specific project. Location: Bogotá, Colombia, Images courtesy of the artist
- Edgar Guzmanruiz, “Algebra”, 2007, Instalation, wood, vinyl, text, 588 x 1152 x 4 cm, Site specific project. Location: Bogotá, Colombia, Image courtesy of the artist
- Edgar Guzmanruiz, “Cortes”, 2011, Wood, vinyl-acrylic, 100 x 40 x 7.5 cm. Image courtesy of the artist
- Edgar Guzmanruiz, “Corte”, 2006, Wood, vinyl-acrylic, lacquer, 60.2 x 120 x 6.2 cm. MOLAA Collection. Image courtesy of the artist
- Edgar Guzmanruiz, “Elogio de la sombra II”, 2006, Installation, wood, veil, 2.4 x 8 x 4.5 M, Site specific project. Location: Bogotá, Colombia. Image courtesy of the artist
- Edgar Guzmanruiz, “Monocromo”, 2005, wood, vinyl, 180 x 45 x 92 cm, Site specific project. Location: Bogotá, Colombia. Image courtesy of the artist
- Edgar Guzmanruiz, “Inversión”, 2005, Series: Inversión, wood, enamel, 66 x 66 x 66 cm. Image courtesy of the artist
- Edgar Guzmanruiz, “Cubo”, 2005, Wood, vinyl, lacquer, 62 x 62 x 62 cm. Image courtesy of the artist
- Edgar Guzmanruiz, “Pliegue esquina”, 2007, Series: Pliegues, Photograph printed on Hannemühle paper, 126 x 89 cm. Image courtesy of the artist
- Edgar Guzmanruiz, “Elogio de la sombra I”, 2005, Wood, Vinyl-acrylic, 30 x 90 x 20 cm. Image courtesy of the artist
- Edgar Guzmanruiz, “Mazzocchio storto”, 2003, Series: Mazzorchio storto, Wood, vinyl, 99 x 99 x 16 cm. Image courtesy of the artist
- Edgar Guzmanruiz, “Homenaje a Castellani”, 2007, Wood, canvas, pink lacquer, enamel, 43 x 43 x 8 cm. Image courtesy of the artist
The first works I made that I consider founded my practice, were interventions on domestic spaces, but always having the public space in the horizon. That’s why I work mostly on the skin of the buildings, on windows, doors, and skylights that allow air and light – that are the vital substances of places – to circulate and put in contact the interior and exterior. This practice later was extended to institutional spaces and I was always driven to be assimilated by the environment, in mimetic strategies that made me study the architectural elements and the specific contexts I worked on. My works interact with architecture, creating altered states of the places by using filters that operate on the ambient light, affecting also people who visit them, regularly or for the first time. Printing color gradients on translucent materials or perforating surfaces that are later installed on windows or skylights, or even building freestanding walls, I think of the materials I use as devices for communication between inside and outside or two people placed in both sides of them. Mathematical logic was my mother language, as a child participating in experimental pedagogic studies in the early seventies. And this influence appears in my works called Concrete Materials, presented at “Matemática Moderna” exhibition in 2005. They were combinatory exercises with sets of photographs of facade tiles, open to different configurations that presume other people playing and reorganizing them constantly. But later I could see that I was in fact more interested in a reaction to the universalism of Modern Mathematics brought by a new approach to knowledge in the field of Ethnoscience. My works are actually more connected to the practice than the theory of sets. The surfaces where I draw and cut patterns inspired in elements of popular architecture like cobogós and lattices are pieces that I call sets of spontaneous mathematics. Though my understanding of space is more topological than geometrical, more experienced than represented, still geometry plays an important role in my practice: cut out patterns geometrically generated organize the surfaces, and being transparent (in different degrees) they are a sort of matrix to the experience of seeing through them, and also interfere with the light coming through them and projected in the interior, creating a pattern of vibration different than the usual one. The works in the series Matematica Espontânea (Conjunto A, Conjunto Ecletico, Conjunto B, Conjunto Nacional, etc.), reuse patterns found in domestic or public spaces in the cities, inspired in ornamental elements used to provide ventilation and shade. These breeze blocks are called COBOGÓS and have a great importance in modernist architecture in Brazil, and because they were spread beyond the buildings designed by authors – found in every city – through them we can identify the singularity of Brazilian modernity and also the aspect of it that became popular and was assimilated by everybody. The social practices that deal with the cobogós surfaces as communication devices justify its existence and we can recognize also a sort of taste for patterns (it happens with tiles too), for surfaces that are organized with a mathematical logic, therefore an intelligent composition, that is conceived despite of the lack of formal education in that area that is also spread in Brazilian cities. So, it’s an architecture made by non-architects, mathematics made by non-mathematicians, a proof of the creative intelligence of the population, that relate to abstract compositions to make the permeable surface that put in contact inside and outside, private and public. These “screens” are also a kind of filter when you see the other side of the walls, and interfere in the visual perception of the world. Color is also an important thing, initially seen as an attribute of things, again in a very logical way of displaying and classifying, but gradually converted into a key to recreate atmospheres, by altering light with color filters. From the color “sentences” to the gradients where almost all colors are compressed, my works are sort of extracts (according to the dictionary: noun |ˈekˌstrakt| 2 a preparation containing the active ingredient of a substance in concentrated form) of color and light experienced in specific landscapes. In the Degradês, the image is reduced to a color transition printed with pigment on a translucent canvas, to be stretched and attached to an existent architectural structure, and backlit by a natural or artificial light source. The gradients are inserted in the landscape they refer too, in a strategy that would be mimetic if they were not so different in nature of the environment. They are also hard to be explained for the viewer that “bumps” into them since they are images that have no obvious function comparing to the other screens installed in the city: there are no signal, text or advertising. It’s more like something filling a gap that wasn’t evident before. And in some cases it becomes similar to an intervention made with Photoshop, which makes us see (and think of) the world as image again…
Traducido del inglés
Las primeras obras que produje, las cuales considero fundaron mi práctica, fueron intervenciones en espacios domésticos, pero siempre teniendo el espacio público en el horizonte. Es por eso que casi siempre trabajo con la piel de los edificios, sobre ventanas, puertas y claraboyas que permiten entrar aire y luz, las substancias vitales de un lugar, para circular y poner en contacto el interior y el exterior. Esta práctica luego se extendió a los espacios institucionales y siempre procuré que mi obra fuera asimilada por el ambiente, en estrategias de mimetismo que me hicieron estudiar los elementos arquitectónicos y los contextos específicos en los cuales trabajaba. Mis obras interactúan con la arquitectura, creando estados alterados de los lugares al usar filtros que funcionan con la luz ambiental, afectando también a la gente que los vistita, regularmente o por primera vez. Imprimo degradaciones de color sobre materiales translúcidos o perforo superficies que son después montadas sobre ventanas o tragaluces, o hasta en muros independientes de edificios, y pienso en los materiales que utilizo como recursos de comunicación entre adentro y afuera o entre dos personas situadas en ambos lados de ellos. La lógica matemática fue mi lengua madre, como niña participé en estudios de pedagogía experimental a principios de los años setenta. Esta influencia aparece en mis obras tituladas Materiales concretos, presentadas en la exposición Matemática Moderna en 2005. Fueron ejercicios de combinación con agrupaciones de fotografías en azulejos de fachadas, abiertos a configuraciones diferentes que asumen que otra gente jugará con ellos y los reorganizará constantemente. Después me percaté de que estaba más interesada en la reacción al universalismo de la matemática moderna llevado a un nuevo acercamiento al conocimiento en el campo de la etnociencia. Mi trabajo está más ligado a la práctica que a la teoría de conjuntos. Las superficies donde dibujo y corto patrones inspirados en elementos de arquitectura popular como cobogós y celosías, son piezas que llamo agrupaciones de matemáticas espontáneas. A pesar de que mi conocimiento del espacio es más topológico que geométrico, más vivido que representado, la geometría aún juega un papel importante en mi práctica: patrones recortados generados geométricamente, organizan las superficies, y al ser transparentes en diferentes grados, son un tipo de matriz de la experiencia de ver a través de ellos y también interfieren con la luz que sale de ellos y se proyecta al interior, creando un patrón de vibración diferente del común. Las obras en la serie Matemática espontánea (Conjunto A, Conjunto Eclético, Conjunto B, Conjunto Nacional, etc.), reutilizan patrones encontrados en espacios domésticos o espacios públicos en las ciudades, inspirados en elementos ornamentales que se usan para ventilar o dar sombra. Estos bloques son llamados cobogós y son muy importantes dentro de la arquitectura moderna en Brasil, y puesto que fueron distribuidos más allá de los edificios diseñados por autores (presentes en todas las ciudades), por medio de ellos podemos identificar la singularidad de la modernidad brasileña y el aspecto que los hizo populares y ser asimilados por todo el mundo. Las prácticas sociales que consideran las superficies de los cobogós como dispositivos de comunicación justifican su existencia, y podemos reconocer también un tipo de gusto por los patrones (sucede con los azulejos también); por superficies que son organizadas con una lógica matemática, por lo tanto en una composición inteligente, que fue concebida a pesar de la carencia de educación formal en esta área tan diseminada en las ciudades de Brasil. Entonces esta es una arquitectura hecha no por arquitectos, matemáticas por no matemáticos, una prueba de la inteligencia creativa de la población que se relaciona con composiciones abstractas para hacer las superficies permeables que ponen en contacto lo interior con lo exterior, lo privado y lo público, Estas “rejillas” son también una especie de filtro cuando ves los otros lados de los muros e interfieren con la percepción visual del mundo. El color también es un elemento importante, inicialmente visto como un atributo, de nuevo en una manera lógica de desplegar y clasificar, pero gradualmente convertido en una llave para recrear atmósferas, al alterar la luz con filtros de colores. De los “enunciados” de color a los gradientes donde casi todos los colores son comprimidos, mis obras son como extractos (de acuerdo al diccionario: una preparación que contiene el ingrediente activo de una sustancia de forma concentrada) de color y luz percibida en paisajes específicos. En los Degradês, la imagen es reducida a una transición de color impresa con pigmento sobre un lienzo translúcido, que es tensada y puesta sobre una estructura arquitectónica existente e iluminada por detrás por luz artificial o natural. Los gradientes son insertados en el paisaje al que hacen referencia, como estrategia de mimetización si no fueran tan diferentes del ambiente. También es difícil explicar al espectador que se encuentra con ellos, ya que son imágenes que no tienen obvia función comparados con las otras rejillas de la ciudad: no hay señales, texto o anuncios. Es más como una cosa que llena un vacío que no era antes visible. En algunos casos se vuelve similar a una intervención hecha con Photoshop, lo que nos hace ver (y pensar sobre) el mundo como una imagen de nueva cuenta…
Selected Biographical Information
Education / Training
- 2006-2008: Doctorate in Visual Arts, USP/Universidade de São Paulo, Brazil.
- 1998-2000: Master in Visual Arts, Art Institute – UFRGS, Porto Alegre, Brazil.
- 1984-1988: Bachelor in Fine Arts, Universidade do Rio Grande do Sul, Porto Alegre, Brazil.
Prizes / Fellowships
- 2014: Residence Flora Ars Natura, Flora Ars Natura, Bogotá, Colombia.
- 2010: Premio Marc Ferrez, FUNARTE.
- 2004: Premio Marcantonio Vilaça.
Solo Exhibitions
- 2013: “a small show with a lot of space in it”, Christopher Grimes Gallery, Santa Monica, CA, USA.
- 2012: Materiais de Construção”, Galeria Nara Roesler, São Paulo, Brazil.
- 2012: “Cromotheism”, Capela do Morumbi, São Paulo, Brazil.
- 2011: “Un Tour”, Galeria Lucia de la Puente, Lima, Peru.
- 2009: “Conjunto Nacional”, Galeria Vitrine Paulista, São Paulo, Brazil.
- 2008: “Casa Acesa”, La Casa Encendida, Madrid, Spain.
- 2007: “Correções de Luz”, Centro Universitario Mariantonia, São Paulo, Brazil.
- 2006: “Matemática Espontânea”, Torre Malakoff, Recife, Brazil.
- 2005: “Matemática Moderna”, Galeria Casa Triângulo, São Paulo, Brazil.
Group Exhibitions
- 2013: “Re:emerge”, 11th Sharjah Biennial, United Arab Emirates.
- 2011: “A terrible beauty is born”, 11 Biennale de Lyon, France.
- 2011: 8th Mercosul Biennial, Porto Alegre, Brazil.
- 2010: “Arts and Cities”, Aichi Triennale Choja-Machi, Nagoya, Japan.
- 2010: “Nature of Things”, Biennial of the Americas Denver, USA.
- 2009: “When Lives Become Form”, Yerba Buena Center For Arts, San Francisco, USA.
- 2008: MOT – Contemporary Art Museum, Tokyo, Japan.
- 2007: “Contraditorio”, Panorama da Arte Brasileira MAM/SP, São Paulo, Brazil.
- 2006: “Como Viver Junto”, 27ª Bienal de São Paulo, São Paulo, Brazil.
- 2005: “More Than This! Negotiating Realities” 3rd Gothenburg Biennial, Sweden.
- 2004: “Poetic Justice”, 8th Istanbul Biennial Turkey.
Publications
- Art in America # september 2013.
- ArtNexus # 90 september 2013.
- Frieze # 143 november 2011(11th Biennale de Lyon) and #107 may 2009 (focus).
- Dardo magazine # 3 january 2006 Barro, David. “Acuarela inexistente. Tempos de luz,” : 76-77, 88-89, 99, 2006.
- BOMB #102 March, 2008 Ramiro, Mario. “Mario Ramiro on Lucia Koch,”: 30-31, Artists on Artists.
- Lucia Koch – ARTEBRA collection Rio de Janeiro: Automática, 2009.
- Desdobramentos da Pintura Brasileira Séc.XXI, Editora Cobogó, Rio de Janeiro, 2012.
- Contemporary Art Brazil, Transglobe publishing, London, 2012.
- Duarte, Paulo Sergio. Arte brasileira contemporânea: um prelúdio. Rio de Janeiro, 2008.
- Barro, David. “La realidad topológica de Lucia Koch,” in Parangolé: Fragmentos desde los 90 en Brasil, Portugal y España, España, 2008.
- Interlengui, Luiza. “Lucia Koch: the space inside out,” in Shift. New York: Center for Curatorial Studies; Bard College, Annandale on Hudson, 2002.
Collections
- Musé d’Art Contemporain MAC Lyon, France.
- Pinacoteca do Estado de São Paulo, Brazil.
- University of Warwick, UK.
- Museu de Arte Moderna/MAM SP São Paulo, Brazil.
- Museu de Arte Moderna/MAM Rio de Janeiro, Brazil.
- Museu de Arte Moderna Aloisio Magalhães/MAMAM – Recife, Brazil.
- MAC RS Porto Alegre, Brazil.
- MAC PR, Curitiba, Brazil.
- ARCO Foundation, Madrid, Spain.
Links
- Vídeo Guerrilha- Arte e espaço
- Artist to Artist
- Art in America Magazine
- Frieze Magazine
- 11th Biennale de Lyon
- 27th Sao Paulo Biennial
- Universes in Universe
- 11th Bienalle de Lyon
- Interview with the artist
- Galeria Nara Roesler, video interviews
- Lucia Koch, “Conversion”, 2013, Metal structure with color filters and plexiglas, Site specific project. Location: 11th Sharjah Biennial, Sharjah, United Arab Emirates. Image courtesy of the artist
- Lucia Koch, “Conversion”, 2013, Metal structure with color filters and plexiglas, Site specific project. Location: 11th Sharjah Biennial, Sharjah, United Arab Emirates. Image courtesy of the artist
- Lucia Koch, “Conversion”, 2013, Metal structure with color filters and plexiglas, Site specific project. Location: 11th Sharjah Biennial, Sharjah, United Arab Emirates. Image courtesy of the artist
- Lucia Koch, “Conjunto A”, 2008, Series: Matemática Espontânea, Laser cut on MDF, Site specific project. Location: SESC Pinheiros, São Paulo, Brazil. Image courtesy of the artist
- Lucia Koch, “Conjunto A”, 2008, Series: Matemática Espontânea, Laser cut on MDF, Site specific project. Location: SESC Pinheiros, São Paulo, Brazil. Image courtesy of the artist
- Lucia Koch, “Material Concreto (números)”, 2005, Series: Matemática Moderna, Photography mounted on wood, 100 x 400 cm (variable dimensions). Image courtesy of the artist
- Lucia Koch, Installation view, 2012, Series: Materiais de Construção. Image courtesy of the artist
- Lucia Koch, “Mostruário Espelhos”, 2012, Series: Mostruário Espelhos, 250 x 215 x 100 cm. Image courtesy of the artist
- Lucia Koch, “Degradê SP”, 2004, inkjet print on vinyl canvas, 3 x 15 m, Site specific project. Location: Paço das Artes, São Paulo, Brazil. Image courtesy of the artist
- Lucia Koch, “Degradê SP”, 2004, inkjet print on vinyl canvas, 3 x 15 m, Site specific project. Location: Paço das Artes, São Paulo, Brazil. Image courtesy of the artist
- Lucia Koch, “Wave off Choja-Machi”, 2010, Pigment print on paper, fabric, and umbrellas. Image courtesy of the artist
- Lucia Koch, “Wave off Choja-Machi”, 2010, Pigment print on vinyl canvas, Site specific project. Location: Aichi Triennale, Nagoya, Japan. Image courtesy of the artist
- Lucia Koch, “Wave off Choja-Machi”, 2010, Umbrellas fabricated with pigment print. Location: Aichi Triennale, Nagoya, Japan. Image courtesy of the artist
- Lucia Koch, “Matemática Espontânea”, 2006, Laser cut on mirrored plexiglas, Site specific project. Location: Torre Malakoff, Recife, Brazil. Image courtesy of the artist
- Lucia Koch, “Matemática Espontânea”, 2006, Laser cut on plexiglas, Site specific project. Location: Torre Malakoff, Recife, Brazil. Image courtesy of the artist
Most part of my work explores the metaphorical capacities of space and our relation to it through his wide- ranging practice which includes installation, sculpture, photography and video. Using abstract geometry to delineate the political and social implications of his chosen environments, deconstructing the codes of objects established through everyday use. Whilst these configurations are always executed with graphic simplicity, the works are in fact complex material experiments that interrogate the functions, limits and frontiers of space and by extension, the socio-political systems which reside therein.
Traducido del inglés
La mayor parte de mi obra explora las capacidades metafóricas el espacio y nuestra relación con él mediante la amplia práctica que incluye instalación, escultura, fotografía y video. Utilizando geometría abstracta para delinear las implicaciones sociales y políticas de ambientes elegidos, deconstruyendo los códigos de los objetos establecidos mediante el uso cotidiano. Pese a que estas configuraciones son siempre ejecutadas con gran simplicidad, estas obras son de hecho complejos experimentos materiales que interrogan las funciones, límites y fronteras del espacio, y por ende, los sistemas socio-políticos en los que residen.
Selected Biographical Information
Education / Training
- Fundação Armando Álvares Penteado – FAAP.
Prizes / Fellowships
- 2012: Gasworks International Residency Programme, London, UK.
- 2012: Pipa (Prêmio Investidor Profissional de Arte), Rio de Janeiro, Brazil.
- 2011: Cifo – Cisneros Fontanals comission Prize, Miami, USA.
- 2009: Prêmio aquisição SP-Arte/Iguatemi – aquisição para Pinacoteca do Estado, São Paulo, Brazil.
- 2004: Bolsa Instituto Iberê Camargo/Visiting Artists Program – School of the Art Institute of Chicago, Chicago, US.
- 2003: Bolsa Faap/Cité Internationale des Arts, Paris, France.
- 1995: Prêmio Michelangelo de Pintura, São Paulo, Brazil.
Solo Exhibitions
- 2013: “Diagrama”, NC-Arte, Bogotá, Colombia.
- 2013: “Geometric Progression”, Inside the White Cube, White Cube, London, UK.
- 2011: “Imóvel/Instável”, Galeria Luisa Strina, São Paulo, Brazil.
- 2010: “Area útil: área comum”, Galeria Silvia Cintra + Box 4 – Rio de Janeiro, Brazil.
- 2009: “Seção Diagonal [Diagonal Section]”,Galeria Box 4, Rio de Janeiro, Brazil.
- 2008: “Geometria Informal”, Galeria Pedro Cera, Lisbon, Portugal.
- 2008: “Área Comum”, Galeria Luisa Strina, São Paulo, Brazil.
- 2005: “Arquipélago”, Galeria Luisa Strina, São Paulo, Brazil.
- 2004: “Fundo Falso”, Galeria Luisa Strina, São Paulo, Brazil.
- 2001: “Sem Título”, Temporada de Projetos Paço das Artes, São Paulo, Brazil.
Group Exhibitions
- 2013: “My third Country”, Frankdael , Amsterdam, Netherlands.
- 2012: “Planos de fuga”, Uma exposição em obras – Centro Cultural Banco do Brasil, São Paulo, Brazil.
- 2011: “An Other Place”, Galerie Lelong, New York, US.
- 2011: “Viewpoint”, Cisneros Fontanals Art Foundation 2011 Grants and Comissions Program, Miami, US.
- 2011: “8a Bienal do Mercosul”, Ensaios de Geopoética, Porto Alegre, Brazil.
- 2010: “29ª Bienal Internacional de São Paulo, “Todo homem tem um copo de mar para navegar”, São Paulo, Brazil.
- 2010: “Para ser Construidos”, Laboratório 987, MUSAC, Leon, Spain.
- 2010: “Pontos de Vista”, Instituto Inhotim, Brumadinho, MG.
- 2008: “Color into light”, Selections from the MFAH Permanent Collection, Museum of Fine Arts Huston, US.
- 2008: “Soziale Diagramme. Planing Reconsidered”, Künstlerhaus Stuttgart, Germany.
Publications
- Marcius Galan – Inside the White Cube, White Cube, London, 2013.
- Art Cities of the Future – 21st-Century Avant-Gardes, Phaidon press , London, 2013.
- Desenhos [Drawings]: A -Z: Coleção Madeira Corporate Services / Adriano Pedrosa (edição e org.); Soartes, Lisboa, 2006.
- Publicado pela Coleção Madeira Corporate Services.
- Contemporary Art Brazil TransGlobe Publishing Ltd, london, 2012.
- Desdobramentos da Pintura do séc. XXI – Editora Cobogó – Rio de Janeiro, 2013.
- 8a Bienal do Mercosul: Ensaios de Geopoética: catálogo / José Rocca (curadoria Geral).
- Porto Alegre: Fundação Bienal do Mercosul, 2011.
- Catálogo da 29a Bienal de São Paulo: Há sempre um copo de mar para um homem navegar / Curadores: Agnaldo Farias, Moacir dos Anjos. São Paulo: Fundação Bienal de São Paulo, 2010.
- Panorama da Arte Brasileira 2007: Contraditório / Moacir dos Anjos (curadoria); Museu de Arte Moderna de São Paulo, São Paulo, 2007.
Collections
- Museu Serralves, Porto, Portugal.
- Pinacoteca do Estado de São Paulo, Brazil.
- Museu de Arte Moderna de São Paulo – MAM, SP, Brazil.
- Museu de Arte Moderna do Rio de Janeiro – MAM Rio, Brazil.
- Museum of Fine Arts, Houston, USA.
- Coleção JUMEX, México DF, Mexico.
- The Zabludowicz Collection, London, UK.
- Coleção Madeira Corporate Services, Ilha da Madeira, Portugal.
- Centro de Arte Contemporânea Inhotim, Brumadinho, Minas Gerais, Brazil.
- Cifo, Cisneros Fontanals, Miami, USA.
- Instituto Figuereido Ferraz, Ribeirão Preto, São Paulo, Brazil.
- Marcius Galan, “Diagonal section”, 2008, Wood, wax and paint on wall, Variable dimensions, Location: Inhotim. Photo credit: Pedro Motta (courtesy Galeria Luisa Strina and Instituto Inhotim)
- Marcius Galan, “Uma linha contem infinitos pontos”, 2011, Enamel paint on wood and map pins, 200 x 300 cm (board), 400 x 800 cm (installation). Photo credit: Edouard Fraipont (courtesy Galeria Luisa Strina)
- Marcius Galan, “Bandeirinhas”, 2013, Painted iron and string, Variable dimensions. Photo credit: Ben Westoby (courtesy Galeria Luisa Strina and White Cube Gallery)
- Marcius Galan, “Bandeirinhas”, 2013, Painted iron and string, Variable dimensions. Photo credit: Ben Westoby (courtesy Galeria Luisa Strina and White Cube Gallery)
- Marcius Galan, “Abstração Instável”, 2011, Wood, glass, graphite and rubber. Photo credit: Edouard Fraipont (courtesy Galeria Luisa Strina)
- Marcius Galan, “Isolante (repouso)”, 2008, Painted iron and nails, 163 x 9 x 5 cm. Photo credit: Edouard Fraipont (courtesy Galeria Luisa Strina)
- Marcius Galan, “Isolante (tenso)”, 2011, Iron, wood and cement, 160 x 80 x 40 cm. Photo credit: Edouard Fraipont (courtesy Galeria Luisa Strina)
- Marcius Galan, “Inert #2”, 2011, Painted iron and nails, 175 x 135 x 65 cm. Photo credit: Edouard Fraipont (courtesy Galeria Luisa Strina)
- Marcius Galan, “Desenhos (2002 to 2005)”, 2005, Rubber, graphite, paper, glass and wood, 22.2 x 17.1 x 10 cm. Photo credit: Edouard Fraipont (courtesy Galeria Luisa Strina and MCS Collection)
- Marcius Galan, “Immobile”, 2013, Wood, coin, cables and iron, 12.8 x 370 x 932 cm. Photo credit: Ben Westoby (courtesy Galeria Luisa Strina and White Cube Gallery)
- Marcius Galan, “Immobile”, 2013, Wood, coin, cables and iron, 12.8 x 370 x 932 cm. Photo credit: Ben Westoby (courtesy Galeria Luisa Strina and White Cube Gallery)
- Marcius Galan, “Bandeirinha (Bunting)”, 2013, Polyurethane paint on iron, nails and string, Variable dimensions. Photo credit: Ben Westoby (courtesy Galeria Luisa Strina and White Cube Gallery)
- Marcius Galan, “Bandeirinha (Bunting)” (Detail), 2013, Polyurethane paint on iron, nails and string, Variable dimensions. Photo credit: Ben Westoby (courtesy Galeria Luisa Strina and White Cube Gallery)
- Marcius Galan, “Cartografia Abstrata (Segmento de Reta V)”, 2012, Enamel paint on wood and map pins, 75 x 148 cm. Photo credit: Edouard Fraipont (courtesy Galeria Luisa Strina)
Translated from Spanish
I like to think of my studio as a laboratory, a place that allows work to be developed into an accumulative process of the graphic experience. Drawing is a way of thinking that makes connections between acquired concepts and executed forms. Far from representing concepts, I try to present them, shape them, and give them a new type of classification to designate them. The act of drawing connects mind with hand, oral language with the sense of touch. The shape might come close to a raw, primary, organic translation of the mind.
Me gusta pensar en mi estudio como un laboratorio, un lugar que permite que el trabajo que hago se desarrolle en un proceso acumulativo de la experiencia gráfica. El dibujo es una forma de pensar que hace conexiones entre los conceptos adquiridos y las formas ejecutadas. Lejos de tratar de representar conceptos trato de presentarlos, darles una forma, un nuevo tipo de clasificación para designarlos. El acto de dibujar conecta la mente con la mano, el lenguaje oral con el tacto. La forma podría acercarse a una traducción cruda, primaria y orgánica de la mente.
Selected Biographical Information
Education / Training
- 2010: Residencia Revolver galería, Lima Peru.
- 2009: Residencia “La Curtiduría”, TAGA Taller de Gráfica Actual, Oaxaca, Mexico.
- 2000-2005: Licenciatura en artes visuales: Escuela Nacional de Pintura, Escultura y Grabado “La Esmeralda” ENPEG CENART, Mexico City, Mexico.
Prizes / Fellowships
- 2014-2016: Becario del FONCA Sistema Fondo Nacional para la Cultura y las Artes, CONACULTA INBA, Mexico City, Mexico.
- 2013: Becario del FNA Fondo Nacional de las Artes, Bs As Argentina.
- 2010: Becario de CIA Centro de Investigaciones Artísticas, Bs As Argentina.
- 2007-2008: Becario del FONCA Fondo Nacional para la Cultura y las Artes, CONACULTA INBA, Mexico City, Mexico.
Solo Exhibitions
- 2013: “Taxonomía de un paisaje”, Dot fifityone gallery, Miami, USA.
- 2013: “Verosímil – Ficcional”, Document Art galería, Bs As Argentina.
- 2012: “Paisaje recuperado”, Arróniz galería, Mexico City, Mexico.
- 2011: “Taxonomía de un hallazgo”, MAM Museo de Arte Moderno, Mexico City, Mexico.
- 2010: “Frag-mentes (sistema de interpretación)”, Revolver galería, Lima, Peru.
- 2010: “Sesera”, Dot fiftyone gallery, Miami, USA.
- 2009: “La Razón a Voluntad”, Arróniz galería, Mexico City, Mexico.
- 2007: “Cambios de sitio”, Casa del Lago UNAM, Mexico City, Mexico.
- 2006: “Basura Afortunada”, Claustro de Sor Juana / Celda de Arte Contemporáneo, Mexico City, Mexico.
Group Exhibitions
- 2013: “Abstracción”, Arróniz galería, Mexico City, Mexico.
- 2013: “Open Studio 8”, Fundación Rozemblun, Bs As Argentina, Curator: Teresa Riccardi.
- 2013: “Rudimentum” Christinger de Mayo galería and Arróniz galería, Zürich, Switzerland.
- 2013: “Utopías de ilusión”, Art Nube (Kiosco) galería and Dot fiftyone gallery, Santa cruz de la Sierra, Bolivia.
- 2013: “Arróniz galería en Lima Perú”, Lima, Peru.
- 2013: “Building Bridges”, Fundación Rozemblum and Nosco Gallery, Bs As Argentina.
- 2012: Colectivo 2do piso, Agustín González, Moris, Omar Barquet y José Luis Landet, Baro galería, Sao Paulo, Brazil.
- 2012: “Open Studio 6”, Fundación Rozemblum, Bs As Argentina, Curator: Rodrigo Alonso.
- 2012: “Lo común y lo colectivo”. Artistas de Arróniz galería en galería Libertad, Querétaro, Mexico.
- 2012: “Discourse of the non-representational”, Dot Fiftyone gallery, Miami. USA.
- 2009: “20 años del FONCA”, magna exposición retrospectiva, Biblioteca Vasconcelos, Mexico City, Mexico.
- 2009 “Proyectos”, Revolver galería, Lima, Peru.
Publications
Links
- Taxonomy of a discovery | Jose Luis Landet
- Mexico: Agustín González, José Luis Landet, Moris and Omar Barquet
- Revista Magenta – Jose Luis Landet
- Arte Aldia – Jose Luis Landet
- José Luis Landet, “Volemia”, 2012, Series: 1, Wood, 6 liters of black ink, 5034 A4 sheets, 300 x 200 x 170 cm, Site specific project. Location: Arróniz galería, Mexico. Photo credit: Andrea Martinez
- José Luis Landet, “Volemia continuo”, 2013, 4 Wood panels, 160 A4 sheets and blue ink, 250 x 500 cm, Site specific project. Location: Dot fiftyone gallery, Miami. Image courtesy of the artist
- José Luis Landet, “Paisaje recuperado”, 2013, Series: XII, XIII y XIV, Oil on canvas (1940-1960), enamel, glue on wood for each panel, 160 x 120 cm each. Image courtesy of the artist
- José Luis Landet, “Porosidad”, 2013, Series: 7, Oil on canvas (1940-1960), enamel, glue on wood for each panel, 150 x 200 x 6 cm. Photo credit: Albano Garcia
- José Luis Landet, “Paisaje recuperado”, 2010, Series: 1, Oil on canvas (1940-1960), glue on cardboard, 150 x 110 cm. Sayao & Pardon Collection. Photo credit: Andrea Martinez
- José Luis Landet, “Paisaje recuperado”, 2012, Series: 2, Oil on canvas (1940-1960), glue on canvas, 160 x 120 cm. Photo credit: Andrea Martinez
- José Luis Landet, “Paisaje recuperado”, 2012, Series: 4, Oil on canvas (1940-1960), glue on canvas, 160 x 120 cm. Photo credit: Andrea Martinez
- José Luis Landet, “Paisaje recuperado”, 2012, Series: 5, Oil on canvas (1940-1960), glue on canvas, 160 x 120 cm. Photo credit: Andrea Martinez
- José Luis Landet, “Paisaje recuperado”, 2013, Series: 11, Oil on canvas (1940-1960), glue on canvas, 160 x 120 cm. Colección Trapiche Argentina. Photo credit: Andrea Martinez
- José Luis Landet, “Border, tiras y contornos”, 2012, Series: 1, Oil on canvas, 9 fragments, 150 x 20 cm each. Site specific project. Location: Dot fiftyone gallery, Miami. Image courtesy of the artist
- José Luis Landet, “Duda”, 2012, Black ink on gray felt, 150 x 200 cm. Image courtesy of the artist
- José Luis Landet, “Principio de polaridad”, 2012, Series: 1, Black ink on white felt, 30 x 42 cm each. Private Collection, Mexico. Image courtesy of the artist
- José Luis Landet, “Principio de polaridad”, 2013, Series: 18 dibujos, Black ink on paper, realized with hands, arms and elbows, 260 x 650 cm. Image courtesy of the artist
- José Luis Landet, “Principio de polaridad”, 2013, Series: 17, Black ink on paper, realized with hands, arms and elbows, 70 x 100 cm. Image courtesy of the artist
- José Luis Landet, “Principio de polaridad”, 2013, Series: 9, Black ink on paper, realized with hands, arms and elbows, 70 x 100 cm. Image courtesy of the artist
- José Luis Landet, “Anti-monumento 3”, 2013, Wooden racks of various dimensions and oil and enamel on canvas, 303 x 497 x 97 cm. Image courtesy of the artist.
- José Luis Landet, “Anti-monumento 3” (Detail), 2013, Wooden racks of various dimensions and oil and enamel on canvas, 303 x 497 x 97 cm. Image courtesy of the artist.
- José Luis Landet, “Anti-monumento 3” (Detail), 2013, Wooden racks of various dimensions and oil and enamel on canvas, 303 x 497 x 97 cm. Image courtesy of the artist.
- José Luis Landet, “Anti-monumento 3” (Detail), 2013, Wooden racks of various dimensions and oil and enamel on canvas, 303 x 497 x 97 cm. Image courtesy of the artist.
- José Luis Landet, “Borde, contorno y límite”, 2013, Oil on canvas 1940-1960 and cement, 60 x 90 cm. Image courtesy of the artist.
Work occurs inside the intermittent activity conducted between things immediate and things suspended in thought: the familiar, the unknown and its eventual recombination. The employment of shifting materials and the recurrence of abstraction acts inside the practice as a reminder of all that persists only through relation: ideas which cannot be reflected upon without being translated, altered or negated. It is under these conditions that several aspects of the work are introduced; namely its particular use of the observer’s point of view, its relationship to a specific time of reading and the idea of a fragmentary expectation being the conduct in which the minor and the major activate their difference.
Traducido del inglés
El uso de materiales cambiantes y la recurrencia de la abstracción actúan dentro de la práctica como recordatorio de todo lo que persiste sólo por relaciones: ideas que no pueden reflejarse sin ser traducidas, alteradas o negadas. Es dentro de estas condiciones que muchos aspectos de la obra son introducidos; concretamente el uso particular del punto de vista del espectador, su relación con un tiempo específico de lectura y la idea de una expectativa fragmentaria como el conducto a través del cual lo menor y lo mayor activan su diferencia.
Selected Biographical Information
Education / Training
- 2010-2012: Painting MA Royal College of Art, London, UK.
- 2004-2009: BA in Fine arts at the National College of Painting, Sculpture and Printmaking ‘La Esmeralda’ of the National Institute of Fine Arts. Mexico City, Mexico. Honors.
Prizes / Fellowships
- 2010-2012: National Fund for the Arts (FONCA) – Mexico, Scholarship Program for Artistic Studies Abroad.
-
2010-2012: Jumex Collection and Foundation grant for artistic studies, Mexico.
Solo Exhibitions
- 2013: “I wished to say YES and NO at the same time“, 4 WINDMILL STREET Gallery, London, UK.
- 2012: “Libre tránsito de motivos”, Neter, Mexico City, Mexico.
- 2011: “Five drawings about fire”, Royal College of Art, London, UK.
Group Exhibitions
- 2013: “(untitled)”, FIFI projects MTY, Nuevo León, Mexico, Mexico.
- 2013: “DANCING CIRCLES”, M María Contreras 19a – PH.
- 2013: “Alignment: From Beginning to the End”, Backlit Gallery, Nottingham, United Kingdom.
- 2013: “WINTER IS COMING”, NETER, Mexico City, Mexico.
- 2013: “Presages”, FIFI projects, Mexico City, Mexico.
- 2013: “ON ICE”, Plaza Merced 2000, Mexico City, Mexico.
- 2013: “Papeles Salvajes, Machete”, curated by Arroniz Arte Contemporáneo, Mexico City, Mexico.
- 2012: “Prepare su Cuota”, Zacatecas 194, Mexico City, Mexico.
- 2012: “Te conozco de vista”, NETER, Mexico City, Mexico.
- 2012: “Summer Show“, Patrick Heide Contemporary, London, UK.
- 2012: “A project for the sun”, Blyth Gallery, London, UK.
- 2011: “Series”, Yautepec 103, Mexico City, Mexico.
Links
- Christian Camacho Reynoso, “4”, 2013, Series: honest mistakes, Aluminum, neodymium magnets, coloured rubber erasers, 60 x 32 x 3 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “3”, 2013, Series: honest mistakes, Golden privacy filter, neodymium magnets, suit jacket. Image courtesy of the artist.
- Christian Camacho Reynoso, “plans II”, 2013, C-type print, 46 x 30 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “telecomunicaiones y transportes”, 2013, Aluminium, glass, bow springs, cotton board, 33.5 x 39 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “self portrait as material”, 2013, Golden privacy filter, lenticular, tape, neodymium magnets, charcoal, wire, 39 x 52 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “self portrait as material”, 2013, Golden privacy filter, lenticular, tape, neodymium magnets, charcoal, wire, 39 x 52 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “drowned form”, 2013, Pure pigment on cotton board, 39 x 52 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “lucky you”, 2013, Coloured plastic geometry set, polypropylene screen, tape, 60 x 80 x 19 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “untitled”, 2013, Pure pigment on paper, 90 x 59 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “2”, 2013, Series: honest mistakes, Golden and silver aluminium, neodymium magnets, golden privacy filter, 80 x 35 x 22 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “last night feels obsolete”, 2011, Real-time cgi projection, Variable dimensions, Site specific project. Location: Mexico. Image courtesy of the artist.
- Christian Camacho Reynoso, “la verdadera forma de la ‘h’ “, 2013, Lenticular on wall, 50 x 70 x 5 cm, Site specific project. Location: Mexico. Image courtesy of the artist.
- Christian Camacho Reynoso, “the gradient studio”, 2012, Series: the gradient studio, C-type print documenting collection of A4 and Letter size gradients printed with inkjet on acetate, 30 x 46 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “the gradient studio”, 2012, Series: the gradient studio, C-type print documenting collection of A4 and Letter size gradients printed with inkjet on acetate, 30 x 46 cm. Image courtesy of the artist.
- Christian Camacho Reynoso, “are you nobody too”, 2011, Looped cgi projection on wall with mirror, Variable dimensions, Site specific project. Location: Mexico. Image courtesy of the artist.
- Christian Camacho Reynoso, “drowned form II”, 2013, Pure pigment on paper, 60 x 90 cm. Image courtesy of the artist.
Translated from Spanish
A look to the past has allowed me to confirm that, intuitively, instability has been a common thread in my research; though it would seem not to be present in all the works I have produced, it always appears in different ways. There are pieces in which I work with a structural instability in it, which is caused by the various possibilities offered by the connections and the links, allowing to change the work into potential forms that are prepared for a possible transformation. In other works instability is more subtle, made through the visibility of the material, for example, through the light that can make a work invisible in front of the spectator. In the last decade, with video, I have been able to introduce sound as a breaking element. Video has also given me the possibility to work with temporary nature. I believe instability refers to movement, break, or something that is ready for a possible transformation. When I work, I do so from “being with” and not from “going to.” I believe this has eliminated projection to the future and has turned the work more timeless, losing with this some historicity, and causing that the work would not be another place in a line. This “being with” is what opens the door to the world, to nature, and allows me, suddenly, to imagine a Mondrian in motion when I see a macaw or I listen to the rain.
Una mirada hacia atrás me ha permitido constatar que, intuitivamente, la inestabilidad ha sido un hilo conductor de mi investigación; a pesar de que pareciera no estar presente en la totalidad de las piezas que he hecho, siempre aparece de distintas maneras: hay obras en las que trabajo con una inestabilidad estructural propiamente dicha, la cual está dada por las distintas posibilidades que ofrecen las conexiones, los vínculos, y que logran convertir las obras en formas potenciales que se presentan dispuestas a una posible transformación; en otras obras la inestabilidad es elaborada más sutilmente, a través de la visibilidad del material; por ejemplo, gracias a la luz que puede hasta hacer desaparecer una pieza ante el observador; y en la última década, con el video, he podido introducir el sonido como elemento de quiebre. El video me ha dado, además, la posibilidad de trabajar la temporalidad. Creo que la inestabilidad habla del movimiento, del quiebre o de algo que está listo para una posible transformación. Cuando trabajo lo hago desde un “estar con”, y no de “ir hacia”, siento que eso ha restado la orientación a futuro y ha vuelto el trabajo más atemporal; perdiendo con esto algo de historicidad, haciendo que el trabajo no sea únicamente un lugar más en una línea. Ese “estar con” es el que abre la puerta al mundo, a la naturaleza; y me permite, de pronto, imaginarme un Mondrian en movimiento cuando veo una guacamaya o escucho la lluvia.
Selected Biographical Information
Education / Training
- 2001-2004: Graduate Institute of Art Studies Armando Reveron.
- 1993-2000: Freelance graphic design, Italy.
- 1990-1993: A Study of C Fronzoni. Milan, Italy. Specialty Inscape and Graphic Design.
- 1985-1989: Naumann Institute. Caracas, Venezuela. Degree in graphic design.
- 1982-1984: Catholic University Andrés Bello (UCAB). Physics & Mathematics.
Prizes / Fellowships
- 2009: Premio X Bienal de Cuenca, “Poéticas del agua”, Cuenca, Ecuador.
- 2009: Premio de la Crítica, Mejor artista extranjera, IV Foro Atlántico.
- 2009: Pontevedra, Spain.
- 1999: Premio único, VI Bienal de Artes Visuales Christian Dior. Centro Cultural Corp Group, Caracas, Venezuela.
- 1998: Premio Arturo Michelena, LVI Salón Arturo Michelena, Valencia, Venezuela.
- 1996: Premio único, VIII edición Premio Eugenio Mendoza, Sala Mendoza, Caracas, Venezuela.
- 1992: Premio en la Competencia Internacional de Afiches: “Man, Nature, Society”, Moscow, Russia.
Solo Exhibitions
- 2012: “Grises: un proyecto de Magdalena Fernández”, NC-Arte, Bogotá, Colombia.
- 2012: “2iPM009”, MOLA Museum of Latin American Art, Long Beach, CA, USA.
- 2011: “Geometría Movil”, Henrique Faría Fine Art, NY, USA.
- 2011: “2iPM009”, Patricia and Phillip Frost Art Museum, Florida International University FIU. Miami, FL, USA.
- 2011: “Objetos Movimientes. Tierras-Estructuras-Atmósferas”, Faría+Fábregas Galería, Periférico Caracas/Arte Contemporáneo and Centro Cultural Chacao. Caracas, Venezuela.
- 2010: “2iPM009”, Complete Concrete, haus konstruktiv, Zurich, Switzerland.
- 2010: “Site specific 1i010”, Residencia de la Emabajada de Francia, Caracas, Venezuela.
- 2006: “Superficies”, Museo de Arte Contemporáneo, Caracas, Venezuela.
- 2006: “Superficies”, CIFO: Cisneros Fontanals Art Foundation. Miami, USA.
- 2000: “Líneas”, Galeria Pedro Cera, Lisboa, Portugal.
- 2000: “2i000”, Galleria Disegno Artecontemporanea, Mantua, Italy.
- 2000: “4i000”, Museo Alejandro Otero, Caracas, Venezuela.
- 1998: “Aires”, Sala Mendoza, Caracas, Venezuela.
- 1997: “2i997”, Museo de Arte Moderno Jesús Soto, Ciudad Bolívar, Venezuela.
- 1996: “1i996”, Centro Verifica 8+1, Venecia-Mestre, Italy.
- 1993: “Estructuras”, Sala Mendoza, Caracas, Venezuela.
- 1991: “Esperando la Palabra”, Municipio de Castiglione delle Stiviere, Mantua, Italy.
Group Exhibitions
- 2013: “Emilio Fernandez Zingg”, El Paisaje del Color, Hacienda La Trinidad Parque Cultural, Caracas, Venezuela.
- 2013: “Mouvement et Lumière”, Centro de Arte Contemporáneo Frank Popper, Marcigny, France.
- 2013: “Memorias de la Obsolecencia. Selección de Videos de la Colección Ella Fontanals Cisneros”, Centro de Arte Contemporáneo Wilfredo Lamb. La Habana, Cuba.
- 2012: “Diálogos Contemporáneos desde La Colección”, Museo de Arte Contemporáneo, Caracas, Venezuela.
- 2012: “Contaminados”, Sala Mendoza, Caracas, Venezuela.
- 2012: “Histórica: Memoria y territorio: Colección Mercantil”, Espacio Mercantil, Caracas, Venezuela.
- 2012: “Venezuela en Arts”, Bienal de Marcigny, Museo de Arte Contemporáneo Frank Popper, Marcigny, France.
- 2012: “GEGO obra abierta: testimonios y vigencia”, Museo de Arte Contemporáneo, Caracas, Venezuela.
- 2012: “Medios y Ambientes”, Museo Universitario del Chopo, Mexico City, Mexico.
- 2011: “Moment”, Doris Mc Carthy Gallery, University of Toronto Scarborough, Toronto, Canada.
- 2010: “Bienal Internacional de Arte Contemporáneo ULA”, Mérida, Venezuela.
- 2010: “2pmTG010”, Ortalis ruficauda, La Nuit Blanche 2010, NMarino Galería, Paris, France.
- 2010: “Negativa Moderna”, Henrique Faría Fine Art, Nueva York, USA.
- 2010: “Neoplastic Room”, Open Composition, Muzeum Sztuki w Lodzi, Lodz, Poland.
- 2009: “Poéticas del agua”, X Bienal de Cuenca, Cuenca, Ecuador.
- 2009: “Mundos en Proceso”, 53º Bienal de Venecia, Pabellón de Venezuela, Venecia, Italy.
- 2009: “Steellife”, Trienal de Milán. Studio Chiesa, Fundación Marcegaglia, Milano, Italy.
- 2009: “Acciones Disolventes”, Centro Cultural Chacao. Caracas; Museo de Arte Moderno Jesús Soto. Ciudad Bolívar, Venezuela.
- 2009: “Space Unlimited”, Art Museum of the Americas, Washington, D.C., USA.
Collections
- Fundación de Museos Nacionales – Galería de Arte Nacional.
- Museo Alejando Otero, Caracas, Venezuela.
- Colección Mercantil, Caracas, Venezuela.
- Colección Cisneros, Caracas, Venezuela.
- Alcaldía de Natanya, Israel.
- Museo Soto.
- Colección CIFO.
- Museo de Arte de Miami.
- Colección Allegro.
- Colección D.O.P.
- Muzeum Sztuki w Lodzi. Lodz. Poland.
- Museun of Fine Arts. Huston USA.
- Fundación Coppel.
- The Museum of Contemporary Art. Los Angeles CA. USA.
- Colección Alejandro González.
- Magdalena Fernández, “1pmAO010”, 2010, Series: Pinturas Móviles, Digital animation, videoloop 3′. Photo credit: Graciela Moser. Image courtesy of the artist.
- Magdalena Fernández, “2iPM009”, 2009. Photo credit: A.Burger. Image courtesy of haus Konstruktive, Switzerland.
- Magdalena Fernández, “1pmS011″, 2011, Series: Pinturas Móviles, Digital animation, videoloop 6’50”. Photo credit: Antonio Chagin. Image courtesy of the artist.
- Magdalena Fernández, “1iHO008”, 2008, Series: Pinturas Móviles, Digital animation, videoloop 5′. Photo credit: Fernando Klint. Image courtesy of the artist.
- Magdalena Fernández, “1pm006″, 2006, Series: Pinturas Móviles, Loop 1’54”. Image courtesy of the artist.
- Magdalena Fernández, “1dpm006 “, 2006, Series: Dibujos y pinturas móviles, Videoloop 8′. Image courtesy of the artist.
- Magdalena Fernández, “2dmSLW004″, 2004, Series: Dibujos Móbiles, Videoloop 15’56”. Photo credit: M. Fernández. Image courtesy of the artist.
- Magdalena Fernández, “2em999”, 1999, Stainless steel wire and connections, 200 x 400 x 60 cm. Photo credit: Antonio Chagin. Image courtesy of the artist.
- Magdalena Fernández, “5em999”, 1999, Pipes and fittings in polished aluminum, Pipe 300 cm, Variable dimensions. Photo credit: Severino Orlandi. Image courtesy of the artist.
- Magdalena Fernández, “21e999”, 1999, Wire and stainless steel cylinder, 70 x 177 cm. Private Collection. Photo credit: Antonio Chagin. Image courtesy of the artist.
- Magdalena Fernández, “1i995”, 1995, Aluminum tubes and steel springs painted black, Variable dimensions. Photo credit: M.Fernández. Image courtesy of the artist.
- Magdalena Fernández, “1i007”, 2007, Fiber optics cables and lighting, Variable dimensions. Photo credit: M.Fernández. Image courtesy of the artist.
- Magdalena Fernández, “1i009”, 2009, Stainless steel and lights, 600 x 600 cm aprox. Photo credit: Danielle Gaspari. Image courtesy of Studio Chiesa.
- Magdalena Fernández, “1i997”, 1997, PVC pipes and turned wood connections, painted white, Variable dimensions. Photo credit: Migue Ángel Clemente. Image courtesy of Galería de Arte Nacional, Caracas
- Magdalena Fernández, “1eu008”, 2008, Series: estructura urbana, Steel, acrylic and lighst, Variable dimensions, Site specific project. Image courtesy of the artist.
Extract from “A Touch of Anguish (or two peas in a pod and a self-serving gourd). A Conversation Bewteen Manuel Hernández, Cuauhtémoc Medina & Thomas Glassford,” In: Cádaver Exquisitio: Thomas Glassford, Universidad Nacional Autónoma de Mexico, 2006 (…) The work relates to questioning beauty, lowering itself to the banal and simplistic, which really is the issue of taste because beauty is simply a word based on fashion and the dictates of fashion. In case of art, it’s connected to collecting. For example, I collect containers made from bull’s scrota. As a collector of objects, I try to deal with banality and take it a step backwards from the personal –from corporeal provocation. When, for example, I see and Aster, obviously speaking in respect to sterility in this extreme, for me it’s related to the gourd. (…) I’m into the surface texture and wear of everyday street life, the influence it has on society, how it becomes a passing image in time, the aspect of its defacing one’s contemporary positioning or historic presence. If one waits long enough, what seems defacing becomes classic. (…) Art is a code or a way of encoding these kinds of anguishing thoughts. There isn’t a day when we can stop thinking about art since there isn’t a day when we can stop thinking about the wrinkle that keeps growing –the one we hadn’t noticed before- or about the spot we’re in or the breakdown we’re feeling, about the anguish of realizing we’re forty-something years old.”
Traducido del inglés
Fragmento de “A Touch of Anguish (or two peas in a pod and a self-serving gourd). A Conversation Bewteen Manuel Hernández, Cuauhtémoc Medina & Thomas Glassford,” en: Cádaver Exquisitio: Thomas Glassford, Universidad Nacional Autónoma de Mexico, 2006 (…) La obra se relaciona con la cuestión de la belleza, rebajándose a lo banal y simplista, que es en realidad un problema de gusto porque la belleza es simplemente una palabra basada en la moda y lo que ésta dicta. En el caso del arte está ligada al coleccionismo. Por ejemplo, yo colecciono contenedores hechos de genitales de toro. Como coleccionista de objetos, intento considerar la banalidad y dar un paso atrás desde lo personal, desde la provocación corpórea. Cuando veo por ejemplo Aster, obviamente hablando sobre la esterilidad en este extremo, para mí está relacionada con el guaje. (…) Me interesan las texturas de las superficies y el deterioro de la vida urbana cotidiana, la influencia que tiene en la sociedad, cómo se convierte en una imagen que pasa en el tiempo, el aspecto de vandalizar nuestra postura contemporánea o presencia histórica. Si uno espera lo suficiente, lo que parece vandalizado se vuelve clásico (…) El arte es un código o una manera de codificar estas ansiedades. No hay día en el que dejemos de pensar sobre el arte porque no hay un día en el que dejemos de pensar en la arruga que sigue creciendo, la que no habíamos notado antes, o en el lugar en el que estamos o en la crisis que sentimos sobre la angustia de darnos cuenta que tenemos cuarenta y tantos años”.
Selected Biographical Information
Education / Training
- 1987: BFA, The University of Texas at Austin, USA.
Solo Exhibitions
- 2013: “SOLO Program: A Vision of Paradise”, ArtRio 2013, Rio de Janeiro, Brazil.
- 2011: “Pteridomania”, Sicardi Gallery, Houston, Texas, USA.
- 2010: “Xipe Totec”, Centro Cultural Universitario Tlatelolco, UNAM, Mexico City, Mexico.
- 2010: “Afterglow”, Museo Experimental El Eco, Mexico City, Mexico.
- 2008: “Implosion is Compulsory”, Quint Contemporary Art, San Diego, California, USA.
- 2008: “Between Earth and Sky”, Sicardi Gallery, Houston, Texas, USA.
- 2006: “Cadáver Exquisito”, Museo Universitario de Ciencias y Artes, MUCA, UNAM, Mexico City, Mexico.
- 2004: “Thomas Glassford”, Finesilver Gallery, San Antonio, Texas, USA.
- 2004: “Pleasure Garden”, OMR, Mexico City, Mexico.
- 2004: “Desdoblamientos”, Galeria Principal de La Escuela de Artes. UAEMéx, Toluca.
- 2004: “Thomas Glassford”, Arcaute Arte Contemporaneo, Nuevo León, Mexico.
Group Exhibitions
- 2013: “México Inside Out: Themes in Art Since 1990”, Modern Art Museum of Fort Worth, Fort Worth, Texas, USA.
- 2012: “Art Los Angeles Contemporary”, Quint Contemporary Art, USA.
- 2011: “¿Neomexicanismos? Ficciones identitarias en el Mexico de los ochento”, Museo de arte Moderno, Mexico City, Mexico.
- 2011: “Cimbra, formas especulativas y armados metafisícos”, Museo de arte Moderno, Mexico City, Mexico.
- 2011: “Cimbra, formas especulativas y armados metafisícos”, Museo de arte Moderno, Mexico City, Mexico.
- 2010: “Cosmopolitan Routes: Houston Collects Latin American Art”, MFAH, Houston, Texas, USA.
- 2010: “The Traveling Show y El Gabinete Blanco”, Fundación/Colección Jumex, Mexico City, Mexico.
- 2010: “Todo a Nada”, Museo Universitario de Arte Contemporáneo MUAC, Mexico City, Mexico.
- 2010: “Efecto Drácula/Comunidades en Transfromación”, Museo Universitario del Chopo, Mexico City, Mexico.
- 2009: “Hecho en casa: Una aproximación a las practicas objetuales en el arte mexicano contemporáneo”, Museo de Arte Moderno, Mexico City, Mexico.
- 2009: “Quint: Three Decades of Contemporary Art”, California Center for the Arts Museum, Escondido, California, USA.
- 2009: “Color Into Light: Selections from the MFAH Collection”, The Museum of Fine Arts, Houston, Texas, USA.
Publications
- 2008: Salum, Rose Mary. “A Conversation with Thomas Glassford,” Literal: Latin American Voices, 40-43.
- 2008: Coffey, Mary K. Thomas Glassford: Between Earth and Sky, Sicardi Gallery exhibition catalog, Houston, TX, January 19-March 15.
- 2006: Perea, Barbara. “Thomas Glassford: Caváder Exquisito,” ARTLIES Magazine, Issue 51, Summer.
- 2004: Johnson, Ken. “Thomas Glassford and Claudia Fernández: Construcción,” Art in Review, The New York Times, January 9.
- 2003: Latchin, Leila. Photographer, Andy Bettles. “Border Crossing,” *Wallpaper, April, 123-127
- 2002: Pincus, Robert. “Reverberations & Echoes,” San Diego Union-Tribune/Night & Day, April 18, 42.
- 2002: Jusidman, Yishai. “Thomas Glassford,” Artforum, February, 136-137
- 2001: Adams, Beverly and Roberts, Brady. Phoenix Triennial, Phoenix Art Museum exhibition catalog, Phoenix, AZ, 38-40.
- 1999: Oles, James. “Thomas Glassford,” Poliester, 40-45.
- 1999: Buentello-Olivo, Mélida. “Thomas Glassford,” Chromaform, University of Texas San Antonio Art Gallery exhibition catalog, San Antonio, TX, 28.
Collections
- Museum of Fine Arts, Houston, Texas.
- Televisa Collection, Mexico.
- Gelman Collection, Mexico.
- La Colección Jumex, Mexico.
- The Bruce and Diane Halle Collection.
- Museo Universitario de Ciencias y Artes, MUCA, Mexico.
- Collezione “La Gaia”, Italy.
- Montblanc International Collection.
- CIFO Foundation.
- Jerry I. Speyer Collection.
- Neeley Collection.
- Vergel Foundation.
- Associacao Beneficente Alzira Denise Hertzog da Silva, Brazil.
- Colección Valdemarín, Madrid, Spain.
- Museo Extremeño e Iberoamericano de Arte Contemporáneo, Bajadoz, Spain.
- Art Center / Istanbul, Borusan Center for Culture and Arts, Turkey.
- Richard E. Peeler Art Center, DePauw University, Greencastle, Indiana.
- Des Moines Art Center, Des Moines, Iowa.
Links
- Sicardi Gallery – Thomas Glassford
- Literal Magazine – A Conversation with Thomas Glassford
- Art This Week – Thomas Glassford
- Thomas Glassford, “Partitura: Chartreuse”, 2007, Anondized aluminum with aniline dye, 39” x 54.5 x 2 ¼” (99.1 x 138.4 x 5.7 cm). Courtesy of artist and Sicardi Gallery
- Thomas Glassford, “Diatomes Stela: Blue/Green”, 2007, Lucite, broomsticks, metal (circle), 98” x 10” (250 x 25 cm). Courtesy of artist and Sicardi Gallery
- Thomas Glassford, “Still Life: Utopian Architecture Series”, 2007, Series: Utopian Architecture Series, Anondized aluminum, aniline, melamine, 47” x 15.5” x 20.5” (199.4 x 39.4 x 52.1 cm). Courtesy of artist and Sicardi Gallery
- Thomas Glassford, “Partitura: Brown 1”, 2001, Anondized aluminum with aniline dye. Courtesy of artist and Sicardi Gallery
- Thomas Glassford, “Dark Eyes”, 2008, Mixed media, 146” x 126” x 130” (371 x 320 x 330 cm). Courtesy of artist and Sicardi Gallery
- Thomas Glassford, “Untitled”, 2007, Paper, zippers, 14” x 20” (35.5 x 50.8 cm). Courtesy of artist and Sicardi Gallery
- Thomas Glassford, “Untitled”, 2008, Mixed media on paper with zippers, 14” x 20” (35.5 x 50.8 cm). Courtesy of artist and Sicardi Gallery
- Thomas Glassford, “Aster 125T5/4100 (black)”, 2001/2007, Fluorescent light, nickel over brass, electrical hardware, extension cord, ballast box, 49 3/8” x 49 3/8” x 49 3/8” (125 x 125 x 125 cm). Courtesy of artist and Sicardi Gallery
- Thomas Glassford, “Afterglow Hybrid Pendant 3”, 2010, Acrylic Plexiglas, anondized aluminum, 39” x 36” (99 x 91.4 cm). Courtesy of artist and Sicardi Gallery
- Thomas Glassford, “Xylem and Phloem”, 2011, Melamine cafeteria ware and mixed media, 10’ x 13” x 13” (25.4 x 33 x 33 cm). Courtesy of artist and Sicardi Gallery
- Thomas Glassford, “Stela: Multistripe”, 2007, Lucite, metal and broomsticks, 98 ½” x 23 ½” x 7 ¾” (250 x 60 x 20 cm). Courtesy of artist and Sicardi Gallery
- Thomas Glassford, “Untitled (Silver Mirror)”, 2010, Mirrored Plexiglas and anondized aluminum, 95.6” x 47.6” x 3” (243 x 121 x 7.7 cm). Courtesy of artist and Sicardi Gallery
- Thomas Glassford, “Red Distichous”, 2011, Mirrored Plexiglas and anondized aluminum, 45 ½” x 32 ½” x 2 ¾” (115.5 x 82.5 x 7 cm). Courtesy of artist and Sicardi Gallery
- Thomas Glassford, “Afterglow”, 2010, Anondized aluminum, acrylic, concrete, polyvinyl tubing, water and dye, Variable dimensions. Courtesy of artist and Sicardi Gallery
- Thomas Glassford, “Untitled”, 2012, Mirrored Plexiglas and anondized aluminum, 46.5” x 32.7” x 2” (118 x 83 x 5 cm). Courtesy of artist and Sicardi Gallery
Selected Biographical Information
Education / Training
- 1996: Yale University MFA sculpture.
- 1992: Whitney Museum Independent Study Program.
Prizes / Fellowships
- 1999: The John Simon Guggenheim Memorial Foundation Fellowship.
- 1990: The Pollock-Krasner Foundation Grant.
Solo Exhibitions
- 2013: “Disassembling Paradise”, Kabe Contemporary, Miami, Florida, USA.
- 2013: “14 juillet, le manifeste du coq flâneur et autres histoires…”, Galerie Karsten Greve, Paris, France.
- 2012: “Sublime Entropies”, Galerie Karsten Greve, Cologne, Germany.
- 2011: “Paradise: Real Time (stills)”, Kabe Contemporary, , curated by Julieta Gonzalez, ARCO, solo projects, Madrid, Spain.
- 2010: “Paradise: Real Time”, , curated by Jonathan Watkins, Ikon Gallery, Birmingham, UK.
Publications
- 2012: “Between Walls and Windows: Architecture and Ideology”, book edited by Valerie Smith, Paradise in the New World, Sergio Vega pp.65-7, text and images by Sergio Vega. Haus der Kulturen der Welt, Berlin. Published by Hatje Cantz, Germany, ISBN 978-3-7757-3474-5
- 2012: “The Storytellers, Narratives in International Contemporary Art”, book edited by Selene Wendt, Chapter eight: Sergio Vega, Paradise in the New World, text and images by Sergio Vega, pp.50-55. Published by Skira Editore, Milano, ISBN 978-88-572-1721-5
- 2011: “Ciels”, Nanni Balestrini and Sergio Vega, poet-artist book images by Sergio Vega, designed and published by Gervais Jassaud, Paris.
- 2011: “Paradise: Real Time”, book, introduction by Jonathan Watkins, essays and images by Sergio Vega, Ikon Gallery, Birmingham, UK December, 120 pages, ISBN 978-0-615-56381-7
- 2010: “Argentina in Focus: Visualizing the Concept” exhibition catalogue, essay by Alma Ruiz, Art Museum of the Americas, Organization of American States, Washington DC, 32 pages, December.
Collections
- MAR Museu de Arte do Rio de Janeiro, Brazil.
- Art Museum of the Americas, OEA. Washington DC, USA.
- Fondazione Biennale di Venezia, Italy.
- LWL-Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany.
- KIASMA, Museum of Contemporary Art, Helsinki, Finland.
Additional Links
- Sergio Vega, “Shanty Nucleus After Derrida 2”, 2011-13, Installation, Inkjet vinyl prints munted on syntra, Variable dimensions. KaBe Contemporary, Miami. Photo credit: Courtesy of the artist.
- Sergio Vega, “Shanty Nucleus After Derrida 2”, 2011-13, Installation, inkjet vinyl prints munted on syntra, Variable dimensions. KaBe Contemporary, Miami. Photo credit: Courtesy of the artist.
- Sergio Vega, “Shanty Nucleus After Derrida 1”, 2009, Installation, inkjet vinyl prints munted on syntra, Variable dimensions. Harn Museum of Art. Photo credit: Courtesy of the artist.
- Sergio Vega, “On the mimetic faculty” (front view), 2008, Mixed media installation, Variable dimensions. LWL Landesmuseum, Münster, Germany. Photo credit: Courtesy of the artist.
- Sergio Vega, “On the mimetic faculty” (front side view), 2008, Mixed media installation, Variable dimensions. LWL Landesmuseum, Münster, Germany. Photo credit: Courtesy of the artist.
- Sergio Vega, “On the mimetic faculty” (back side view), 2008, Mixed media installation, Variable dimensions. LWL Landesmuseum, Münster, Germany. Photo credit: Courtesy of the artist.
- Sergio Vega, “Paradise: Real time”, 2010, Video installation, 6 screens, 28 minutes, Variable dimensions. Ikon Gallery, Birmingham, UK. Photo credit: Courtesy of the artist.
- Sergio Vega, “Paradise: Real time”, 2010, Video installation, 6 screens, 28 minutes, Variable dimensions. Ikon Gallery, Birmingham, UK. Photo credit: Courtesy of the artist.
- Sergio Vega, “Paradise: Real time”, 2010, Video installation, 6 screens, 28 minutes, Variable dimensions. Ikon Gallery, Birmingham, UK, Photo credit: Courtesy of the artist.
- Sergio Vega, “Paradise: Real time”, 2010, Video installation, 6 screens, 28 minutes, Variable dimensions. Ikon Gallery, Birmingham, UK, Photo credit: Courtesy of the artist.
- Sergio Vega, “Modernismo Tropical” (lounge), 2005, Multimedia Installation, Variable dimensions. Biennale di Venezia, Photo credit: Courtesy of the artist.
- Sergio Vega, “Across the Corpus Callosum”, 2005, Wall paint, taxidermy, color samples, Variable dimensions. Galerie Karsten Greve, Paris, Photo credit: Courtesy of the artist.
- Sergio Vega, “Parrot color chart #2B”, 2013, Serie: Parrot color chart, Inkjet print mounted on aluminum, 57 x 38 in., KaBe Contemporary, Miami, Photo credit: Courtesy of the artist.
- Sergio Vega, “Parrot color chart #7B”, 2013, Serie: Parrot color chart, Inkjet print mounted on aluminum, 35 x 32 in., KaBe Contemporary, Miami, Photo credit: Courtesy of the artist.
- Sergio Vega, “Parrot color chart #3”, 2013, Serie: Parrot color chart, Inkjet print mounted on aluminum, 57 x 38 in., KaBe Contemporary, Miami, Photo credit: Courtesy of the artist.
Most of my work has implicit connections to my native country, Venezuela, where oil production made the promise of modernism more tangible, and its failure more poignant, than elsewhere in Latin America. I ruminate on the future of abstraction while glancing back at Venezuela’s collapsed modernist project – its chromatic remains – through the fracturing prism of contemporary conditions. I use the language of abstraction as a way to materialize and connect ideas. Conceiving abstraction as the critical and poetic language of potential allows me to pierce the detached geometries of ordering structures, making them responsive and more pliable. I work with paint, paper, ink, slides, spices, felt and vinyl. But my favored material is paradox: the promise and perils of utopian abstraction, political formalisms, universal specificities, and the underlying order of chaos.
La mayor parte de mi trabajo tiene conexiones implícitas con mi país natal, Venezuela, donde la producción de petróleo hizo la promesa de la modernidad más tangible, y su fracaso más doloroso, que en otras partes de América Latina. Yo exploro el futuro a través de la abstracción, a su vez miro el pasado, estudiando el colapsado proyecto modernista de Venezuela – sus restos cromáticos – a través del prisma de la fractura de las condiciones contemporáneas. Uso el lenguaje de la abstracción como una forma de materializar y conectar ideas. Concebir la abstracción como lenguaje de crítica y poética de un potencial me permite perforar las geometrías de las estructuras adosadas y llevarlas hacia algo más sensible y más flexible. Trabajo con la pintura, el papel, la tinta, las diapositivas, las especias, el fieltro y vinilo. Pero mi materia favorita es la paradoja: la promesa y los peligros de la abstracción utópica, formalismos políticos, las especificidades universales, y el orden que ya subyace al caos.
Selected Biographical Information
Education / Training
- 2009: MA, Aesthetics and Politics, School of Critical Studies, CalArts, CA, USA.
- 1999: MFA, Painting, Claremont Graduate University, CA, USA.
- 1996: BA, Hampshire College, Amherst, MA, USA.
- 1989-1990: Instituto de Arte Federico Brandt, Caracas, Venezuela.
Prizes / Fellowships
- Obermann Grant Wood Fellowship, University of Iowa, IA, USA.
- Ahmanson Scholarship, California Institute of the Arts, CA, USA.
- Five College Center for the Interdisciplinary Study of the Americas Fellowship, Five Colleges, MA, USA.
- Community Foundation of Western Massachusetts Grant, MA, USA.
- Claremont Graduate University Fellowship, CA, USA.
Solo Exhibitions
- 2013: “Color Felt”, Soho20 Chelsea Gallery, NY, USA.
- 2013: Los Angeles, Ruth Bachofner Gallery, CA, USA.
- 2012-2013: “Never Underestimate a Monochrome”, University of Iowa Museum, Iowa City, IA, USA.
- 2012: Wignall Museum of Contemporary Art, CA, USA.
- 2012: “Color’s Ordinates and Affinities: Instructions for Chromatic Living”, University of Iowa ABW Gallery, IA, USA.
- 2011: “Abstract Numbers of a Revolution”, University of Iowa, IA, USA.
- 2010-2011: “The Utopian Tense of Green”, Ruth Bachofner Gallery, Los Angeles, CA, USA.
- 2010: Soho20 Chelsea Gallery, NY, USA.
Group Exhibitions
- 2013: “Lines of Poetry”, Diane Birdsall Gallery, Old Lyme, CT, USA.
- 2012: “Pink Assignment”, Soho20 Gallery, NYC, NY, USA.
- 2011: “An Exchange with Sol Lewitt”, MASS MoCA, USA.
- 2011: “Gifting Abstraction”, Soho20 Gallery, NYC, NY, USA.
- 2010: “Muse/Reuse”, Doug Adams Gallery at the Badé Museum, Berkeley, CA, USA.
Publications
- 2013: Goodrich, John, “Only Engage,” City Arts: New York’s Review of Arts and Culture.
- 2013: Prugh, Brian,”Revolt Against the City and Never Underestimate a Monochrome,” Iowa City Arts Review, 1, Vol. 7.
- 2013: Berry, Amy,” Artists on the same page in Old Lyme exhibit,” The Day.
- 2007: Benko, Susana, “Extra-pictórico,” Art Nexus, 66, Vol. 6.
- 2007: Miguel, Miguel “Mariángeles Soto-Díaz,” Arte al Día.
- 2007: Carreño, Freddy, “Fia 2007,” Art Nexus, 66, Vol. 6.
- 2007: Yáñez, Ondina “Mariángeles Soto-Díaz en un Laboratorio de Chocolate,” Revista GP.
- 2006: Méndez, María Gabriela “El Chocolate y sus Divinas Proporciones” El Universal.
- 2005: Carr, Carlin “Gallery: Mariángeles Soto-Díaz” New England Watershed.
- 2002: Monsalve, Jasmín “Mariángeles Soto-Díaz Muestra Abstracción con Olor a Canela” El Universal.
- 2002: Feely, Erik “Mariángeles Soto-Díaz at the Galería Alternativa” The Daily Journal.
- 2001: Cun, Lan “Exhibitions at the Sweeney” Radar.
- 2001: Knaff, Devorah “Revelatory Art” The Press Enterprise.
- 2000: Ollman, Leah “Blood Oaths” Los Angeles Times.
- 2000: Letran, Vivian “Grave Events” Los Angeles Times.
Additional Links
- Mariángeles Soto-Díaz, “Color Felt Translation #4”, 2013, Series: Color Felt, Acrylic on canvas, 63 x 76 in. (160 x 193 cm). Ruth Bachofner Gallery, Los Angeles, CA. Photo credit: Gene Ogami.
- Mariángeles Soto-Díaz, “Color Felt Installation”, 2013, Series: Color Felt, Acrylic on canvas, felt, text. Ruth Bachofner Gallery, Los Angeles, CA. Photo credit: Gene Ogami.
- Mariángeles Soto-Díaz, “Color Felt Translation #5”, 2013, Series: Color Felt, Acrylic on canvas, 40 x 40 in. (102 x 102 cm). Photo credit: Gene Ogami.
- Mariángeles Soto-Díaz, “Color Felt Translation #1”, 2013, Series: Color Felt, Acrylic on canvas, 63 x 76 in. (160 x 193 cm ). Photo credit: Gene Ogami.
- Mariángeles Soto-Díaz, “Color Felt Translation #8”, 2013, Series: Color Felt, Acrylic on canvas, 18 x 24 in. (46 x 61 cm). Photo credit: Debbie Reisel.
- Mariángeles Soto-Díaz, “Color’s Ordinates and Affinities: Instructions for Chromatic Living, Installation”, 2012, Series: Color’s Ordinates and Affinities: Instructions for Chromatic Living, Acrylic on bamboo and vinyl, Dimensions variable. ABW Gallery at the University of Iowa, Iowa City, IA. Photo credit: Jesse Sinclair.
- Mariángeles Soto-Díaz, “Color’s Ordinates and Affinities: Instructions for Chromatic Living, Installation”, 2012, Series: Color’s Ordinates and Affinities: Instructions for Chromatic Living, Acrylic on bamboo and vinyl, Dimensions variable. ABW Gallery at the University of Iowa, Iowa City, IA. Photo credit: Jesse Sinclair.
- Mariángeles Soto-Díaz, “White Monochrome”, 2012, Series: Color’s Ordinates and Affinities: Instructions for Chromatic Living, Acrylic on bamboo, 24 x 24 in. (61 x 61 cm). Photo credit: Jesse Sinclair.
- Mariángeles Soto-Díaz, “Abstract Numbers of a Revolution, Installation”, 2012, Series: Abstract Numbers of a Revolution, Acrylic on wood, Dimensions variable. ABW Gallery at the University of Iowa, Iowa City, IA. Photo credit: Jesse Sinclair.
- Mariángeles Soto-Díaz, “Abstract Numbers of a Revolution, Installation”, 2012, Series: Abstract Numbers of a Revolution, Acrylic on wood, Dimensions variable. ABW Gallery at the University of Iowa, Iowa City, IA. Photo credit: Jesse Sinclair.
- Mariángeles Soto-Díaz, “157,808: Total number of homicides registered in Venezuela during the twelve and a half years of Hugo Chavez’s democratic government”, 2012, Series: Abstract Numbers of a Revolution, Acrylic on wood, 31 x 36 cm (12 x 14 in.). Photo credit: Jesse Sinclair.
- Mariángeles Soto-Díaz, “Utopian Tense of Green #1”, 2011, Series: The Utopian Tense of Green, Acrylic on wood, 36 x 36 in. (92 x 92 cm). Photo credit: Courtesy of the artist.
- Mariángeles Soto-Díaz, “Utopian Tense of Green #4”, 2011, Series: The Utopian Tense of Green, Acrylic on wood, 47 x 62 in. (120 x 158 cm). Photo credit: Courtesy of the artist.
- Mariángeles Soto-Díaz, “Utopian Tense of Green #2”, 2011, Series: The Utopian Tense of Green, Acrylic on wood, 36 x 36 in. (92 x 92 cm). Photo credit: Courtesy of the artist.
- Mariángeles Soto-Díaz, “Utopian Tense of Green, Installation, Ruth Bachofner Gallery”, 2011, Series: The Utopian Tense of Green, Acrylic on wood. Ruth Bachofner Gallery, Los Angeles. Photo credit: Courtesy of the artist.
Art to Art. Life to Life Osvaldo Romberg. The Aldrich Museum of Contemporary Art, 2000 Art begins when life is not enough. In modern culture the acceptance of death signifies the loss of connection with the infinite. It is in this area of thinking, in the loss of the infinite, that art gives relief and new hopes for spirituality. Art makes evident (and occasionally succeeds in resolving) the conflict between being and integrating with the world. This is a dilemma which religion can no longer address. All the religions of the world are narratives. In these narratives are implicit mythologies and explanations which help people to survive the panic of death and solitude. In the past, art merely rearticulated these narratives. In recent years, however, I have observed that art is replacing religion by raising its own issues of morality, identity, mortality, and transcendence. Art used to be the illustration of the metaphysical. It has now become the metaphysical itself. The vitality and dynamism of contemporary art challenges religions ability to face the relevant issues at the end of the millennium: artificiality, reproduction of the species, and equality. Paraphrasing Martin Heidegger, we can say that the authentic dialogue with the art of an artist is artistic, as opposed to critical. There is no artistic dialogue between artists and those who do not believe in the power of art to contain essential truths. Art can be viewed as an antidote to the static and paralyzing force of religion in a post-capitalist, globalist era. The idea of art as a regenerative activity is described in The Glass Bead Game by Hermann Hesse, which I read in my adolescence. The book is about the translation of all information systems and human knowledge into one code, The Game. Once you enter this universal language, you can integrate all aspects of human experience. Marcel Duchamp is the “Magister Ludi.” Art today can surpass the two pervasive theories confronting our post-capitalist world: the pseudo-democratic relativism of postmodernism vs. the oppressive dictatorship of fundamentalism. Referring to The Bride Stripped Bare by her Bachelors, Even, in a 1966 interview with Pierre Cabanne, Duchamp said, “… I almost never put any calculations into the Large Glass. Simply, I thought of the idea of a projection, of an invisible fourth dimension, something you couldn’t see with your eyes.” Is this not the domain of the divine?
Traducido del inglés
El arte al arte, la vida a la vida. Osvaldo Romberg. The Aldrich Museum of Contemporary Art, 2000 El arte comienza cuando la vida no es suficiente. En la cultura moderna, la aceptación de la muerte significa la pérdida de la conexión con lo infinito. Es dentro de esta área de pensamiento, en la pérdida de lo infinito, que el arte da alivio y nuevas esperanzas para una espiritualidad. El arte hace evidente (y en ocasiones tiene éxito en resolver) el conflicto entre ser e integrarse con el mundo. Este es un dilema que la religión no puede abordar. Todas las religiones del mundo son narrativas. En estas narrativas, mitologías y explicaciones que ayudan a la gente a sobrevivir el pánico de la muerte y la soledad se hacen implícitas. En el pasado, el arte simplemente expresaba estas narrativas. En años recientes, sin embargo, he observado que el arte está reemplazando a la religión al manifestar sus propios problemas de moralidad, identidad, mortalidad y trascendencia. El arte solía ser la ilustración de lo metafísico. Hoy en día se ha vuelto lo metafísico. La vitalidad y el dinamismo del arte contemporáneo cuestionan la capacidad de la religión de enfrentar los temas del fin del milenio: artificialidad, reproducción de las especies, e igualdad. Parafraseando a Martin Heidegger, podemos decir que el diálogo auténtico con el arte de un artista es artístico, a diferencia de crítico. No existe un diálogo artístico entre los artistas y aquellos que no creen en el poder del arte de contener estas verdades esenciales. El arte puede ser visto como antídoto a la fuerza estática y paralizante de la religión en la era post-capitalista y global. La idea del arte como actividad regenerativa es descrita en El Juego de los Abalorios por Hermann Hesse, el cual leí en mi adolescencia. El libro es acerca de la traducción de todos los sistemas de información y el conocimiento humano en un sólo código: El Juego. Al entrar en este lenguaje universal, te puedes integrar a todos los aspectos de la experiencia humana. Marcel Ducham es el “Magister Ludi”. El arte hoy en día puede superar las dos teorías generalizadas que confrontan nuestro mundo post-capitalista: el relativismo pseudo-democrático del posmodernismo vs. la dictadura opresora del fundamentalismo. Al referirse a La novia puesta al desnudo por sus solteros, incluso, en una entrevista de 1966 con Pierre Cabanne, Duchamp dijo “a pesar de que casi no haya incluido ningún cálculo en Le Grand Verre… Simplemente, pensé en la idea de una proyección, de una cuarta dimensión invisible puesto que no se puede ver con los ojos”. ¿No es este el dominio de lo divino?
Selected Biographical Information
Education / Training
- 1956-1962: Universidad de Buenos Aires, Facultad de Arquitectura.
Solo Exhibitions
- 2013: “The Color Factor”, Henrique Faria Fine Art, New York, USA.
- 2012: “Color Constellation Project”, 11×7 Galería de Arte, Buenos Aires, Argentina.
- 2011: “Works from the 1970s”, Henrique Faria Fine Art, New York, USA.
- 2011: Zemack Contemporary Art Gallery, Tel Aviv.
- 2011: “Drawings from the series Art History”, Philadelphia Museum of Art, Philadelphia, USA.
- 2010: “Osvaldo Romberg: The study of structures and story telling”, The Artists’ House, Tel Aviv.
- 2010: “1960 – 2010 Works on paper”, Galería Laura Haber, Buenos Aires, Argentina.
- 2010: “The Eye of the Fly (Multimedia installation)”, Mestrovic Pavilion, Zagrev, Croatia.
- 2009: “Video Installation”, Neue Galerie am Landesmuseum Joanneum, Graz, Austria.
- 2009: “Videos and Stills”, Z.K.M., Karlsruhe.
- 2009: “Buildings, Footprints, and Watercolors”, Sabanci University, Istanbul, Turkey.
- 2008: “Videos and Stills”, Centro Cultural Recoleta, Buenos Aires, Argentina.
- 2008: “Dear Theo, The Night that Van Gogh Cried”, Galería Vasari, Buenos Aires, Argentina.
- 2007: “Jesus de Buenos Aires”, Kunst Museum, Bonn.
- 2007: “Buildings Footprints”, Museo de Arte Moderno, Buenos Aires, Argentina.
- 2007: “Framing the Art”, Heike Curtze Gallery, Vienna.
- 2005: “Narrative Architectural (1987—2005)”, (cat.), Musée d’Art Moderne, Saint Etienne.
- 2005: “Text, Image, Object (1963 – 2005)”, (cat.), Van Abbemuseum, Eindhoven.
- 2003: “From Paradise to Paradise: A Hypertext about Love in Three Parts”, Universal Concepts Unlimited, New York, USA.
- 2001: “The Library Is Burning”, (recent books), Jan Van der Donk Gallery, New York, USA.
- 2000: “Bésame Mucho: A Hypertext About Love”, (cat.), Domgrabungsmuseum, Salzburg; White Box Gallery, New York, USA.
- 2000: “Retinal-Non-Retinal”, (cat.), Staedtische Kunstsammlungen, Augsburg.
- 1999: “Romberg´s Walks at the Kunsthistorische Museum” (cat.), Kunsthistorische Museum, Vienna and Galerie Heike Curtze, Vienna.
- 1997: “Bypass (1972-1997)”, (cat.), Kunstmuseum, Bonn.
- 1997: “Osvaldo Romberg: A Survey (1974-1997)”, Stux Gallery, New York, USA.
- 1996: “+2000/-2000 Even” (cat.), exhibited simultaneously at: Fundacion Xavier Corbero, Barcelona; Ludwig Museum, Budapest; Ludwig Museum, Cologne; Museum of Modern Art, Odessa; Pennsylvania Academy of the Fine Arts, Philadelphia; The Reykjavik Municipal Art Museum, Reykjavik; Stadtgalerie, Saarbruecken; Tel Aviv University Gallery, Central Library; Sudo Museum, Tokyo; Museum Moderner Kunst, Vienna.
Group Exhibitions
- 2012: “Palabras, imágenes y otros textos”, Museo de Arte Moderno, Buenos Aires, Argentina.
- 2011: “Sistemas, Acciones y Procesos: 1965-1975”, Fundación Proa, Buenos Aires, Argentina.
- 2011: “A Line of Color”, Henrique Faria Fine Art, New York, USA.
- 2010: “Imán: Nueva York”, Fundación Proa, Buenos Aires, Argentina.
- 2008: “Medium Religion”, Z.K.M. Zentrum fur Kunst und Medientechnologie, Karlsruhe.
- 2007: “Lightning”, Galerie Heike Curtze, Salzburg.
- 2005: “Domicile: Privé/Public (installations of “Syzygy III” and “The Last, Machu Pichu”)”, Musée d’Art Moderne, Saint Etienne.
- 2000: “Topologies: Weiner, Le Va, Anastasi, Romberg”, White Box Gallery, New York, USA.
- 1999: “Faith”, The Aldrich Museum of Contemporary Art, Connecticut, USA.
- 1999: “Plural Speech”, White Box Gallery, New York, USA.
- 1998: “The Seventies”, Tel Aviv Museum, Tel Aviv.
- 1997: “Unmapping the Earth”, Kwangju Biennial.
- 1997: “Transversions”, Second Biennial of Johannesburg.
- 1995: “Avant-Garde Walk a Venezia”, Venice Biennial, Italy.
- 1995: “White Machu Pichu”, Artists’ Museum, Mitzpeh Ramon, Israel.
Collections
- Museo de Arte Moderno, Buenos Aires, Argentina.
- MUHKA-Museum of Contemporary Art, Antwerp.
- Kunstmuseum, Bonn.
- Museo de Bellas Artes, Buenos Aires, Argentina.
- Ludwig Museum, Cologne, Germany.
- Leopold-Hoesch Museum, Dueren.
- Wilhelm Lehmbruck Museum, Duisburg.
- The Haifa Museum of Modern Art, Haifa.
- Sprengel Museum, Hannover.
- The Israel Museum, Jerusalem.
- California State University, University Library, Long Beach, USA.
- Wilhelm Hack Museum, Ludwigshafen.
- Jewish Museum, New York, USA.
- Museum of Modern Art, New York, USA.
- Philadelphia Museum, Philadelphia.
- The Tel Aviv Museum, Tel Aviv.
- Museum Moderner Kunst, Vienna.
- Library of Congress, Washington, DC., USA.
- Osvaldo Romberg, “Orange cadmium”
- Osvaldo Romberg, “1-388 All the Colors of the Chromatic Circle Interacted by Blue Ultramarine”, 1980, Acrylic and graphite on canvas, 78 x 70 in. (198 x 177.8 cm) Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “1-389 All the Colors of the Chromatic Circle Interacted by Orange Cadmium”, 1980, Acrylic and graphite on canvas, 78 x 70 in. (198 x 177.8 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “1-77 of 77 Tonal Value Classif. Of 77 Stripes (All of Them) from “Madonna Di Pellegrini”, Caravaggio”, 1977, Collage and graphite on paper, 21 1/2 x 29 in. (54.5 x 73.5 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “The Hanover Color Constellation”, 1982/2012, Acrylic on wood, Dimensions variable, Edition of 3. Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “Dirty Geometry”, 2012, Acrylic on canvas, 31 1/2 x 47 1/4 in. (80 x 120 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “Analysis of the Tempest “Giorgione”, 1976, Acrylic, collage and pencil on paper, 27 3/16 x 38 3/8 in. (69.5 x 97.5 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “1-24 Box order (Family Color Order) 25 – 43 Not Order”, 1975, Colored pencil on paper, 19 1/3 x 27 1/2 in. (49 x 69.8 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “1-7 Tonal Value Key”, 1977, Acrylic on canvas ,33 1/2 x 49 in. (85 x 124.5 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “The Blue, the Red, the Yellow”, 1975, Ink and graphite on paper, 27 3/8 x 19 1/2 in. (69.5 x 49.5 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
- Osvaldo Romberg, “Black Printed Paper Analysis”, 1976, Collage and rubber-stamp on paper, 18 1/2 x 25 5/8 in. (47 x 65 cm). Image courtesy of the artist and Henrique Faria Fine Art, New York
Over the past five years, I have developed a research work in sculpture and installation with industrial materials which denote, in the constitution and the way they are presented, my intention to hold encounters of different strengths and temperaments; of oppositions that support each other at their possible limits. In my visual speech that I seek to generate, I establish the dialogue through the laws of the world, metaphors that point to the “being’s” existence; where transformation and impermanence, from the subtlety of possible balance, translate into a place of experience and reflection.
Traducido del inglés
En los últimos cinco años he desarrollado un trabajo de investigación en la escultura e instalación con materiales industriales que denotan, en su constitución y la forma que son presentados, mi intención de contener encuentros de diferentes fuerzas y temperamentos; de oposiciones que se apoyan unas a las otras dentro de sus límites posibles. En mi discurso visual busco generar, estableciendo el diálogo por medio de las leyes del mundo, metáforas que apuntan a la existencia del ser, donde la transformación e impermanencia, desde lo sutil del posible balance, se traducen a un lugar de experiencia y reflexión.
Selected Biographical Information
Education / Training
- 2009: UFRGS, Visual Arts, specialization in sculpture.
Prizes / Fellowships
- 2014: Artist Residence, Izolyatsia, Ukraine.
- 2013: Acquisition Award at the 13th SNAI, XIII Salão Nacional de Artes de Itajaí, Brazil.
- 2013: Sala Taller III residency program, EAC – Espacio de Arte Contemporáneo, Montevideo.
- 2013: 9° Rede Nacional Funarte, project CEP: body, space and route, Brasil, Natal, Porto Alegre.
- 2011-2012: Energisa Prize for Visual Arts, Brazil, João Pessoa.
- 2011: Acquisition Prize, Art Salon of Mato Grosso do Sul 2011, Campo Grande, MS, Brazil.
- 2011: FAAP residency program, Lutetia Building, São Paulo, Brazil.
- 2010: Leonello Berti Acquisition Award 35º SARP, Ribeirão Preto, Brazil.
- 2009: lV Açorianos Arts Awards, Sculpture 2009, Porto Alegre, Brazil.
Solo Exhibitions
- 2013: “From Territories”, Abysses and Intentions, Santader Cultural, Porto Alegre, Brazil.
- 2013: “Ground”, Baró Gallery, São Paulo, Brazil.
- 2013: “CEP: body, space and route”, IFRN Gallery, Natal, Brazil.
- 2012: “Recognition practices and some approximations”, Museum of sustainability – Victor Civita Square, São Paulo, Brazil.
- 2012: “Transposition”, Augusto Meyer Gallery – Mario Quintana Culture House, Porto Alegre, Brazil.
- 2011: “Diagonal”, MARP – Museum of Art of Ribeirao Preto, Ribeirao Preto SP, Brazil.
- 2009: “Orthogonal Trajectories”, Goethe Institut, Porto Alegre, Brazil.
- 2009: “Two Magnitudes”, Iberê Camargo Gallery Usina do Gasômetro, Porto Alegre, Brazil.
Group Exhibitions
- 2013: “Here we are from here we go”, Arróniz Gallery, Mexico DF, Mexico.
- 2012: “Salvajes Digesting Europe Piece by Piece”, Traneudstillingen Exhibition Space, Copenhagen, Denmark.
- 2012: “Drawing Instances”, Logo Gallery, São Paulo, Brazil.
- 2012: “Drawing Instances”, School of Visual Arts of Parque Lage, Rio de Janeiro RJ, Brazil.
- 2011: “New Brazilian Sculpture”, Caixa Cultural Rio de Janeiro, Rio de Janeiro, RJ, Brazil.
- 2011: “72 Hours”, MAC – RS, Porto Alegre RS, Brazil.
- 2011: “Rastros de Aserrín”, Centro Cultural del Parque de España, Rosario, Argentina.
- 2011: “From the Studio to The White Cube”, MARGS Art Museum of Rio Grande do Sul, Porto Alegre, Brazil.
- 2011: “Hollow Horizon: Latin-American artists at the edge”, Instituto Cervantes, São Paulo, Brazil.
- 2010: “Tripod Project Parallel 30”, Sesc Pompéia, São Paulo, Brazil.
Publications
- 2013: De territórios, abismos e intenções, Imago art office.
- 2013: CEP: corpo, espaço e percurso, publishing house Panorama Crítico.
- 2012: Transposição: 30°01’52.56’’S – 51°14’04.03’’O, publishing house Panorama Crítico.
- 2011: Nova Escultura Brasileira, Gala Art Editions.
- 2010: Subterrânea, publishing house Panorama Crítico.
- 2009: Entre Séculos, Brasília National Museum.
Collections
- Figueiredo Ferraz Institute, Ribeirão Preto SP, Brazil.
- MAC-RS, Museum of Contemporary Art of Rio Grande do Sul, Porto Alegre, Brazil.
- Marco – Museum of Contemporary Art of Mato Grosso do Sul, Campo Grande , MS, Brazil.
- Brasília National Museum, Brasília, Brazil.
- Ribeirão Preto Arts Museum, Ribeirão Preto, Brazil.
- Aldo Locatelli Municipal Art Gallery, Porto Alegre, Brazil.
Links
- Pregnanciadaforma
- Ground | From Matter to Mind by Flávio Gonçalves [PDF]
- Túlio Pinto, “Nadir”, 2013, Series: 1/3, Installation, glass slide (200x50x0.6 cm), stones and steel cable, Variable dimensions. EAC – Espacio de Arte Contemporáneo | Montevideo – Uruguay, Photo credit: Courtesy of the artist.
- Túlio Pinto, “Territories”, 2013, Series: 1/3, Sculpture, chairs, table, glass slide, concrete blocks and steel cable, 131 x 100 x 200 cm, Baró Gallery – São Paulo – Brazil, Photo credit: Diego Santovito.
- Túlio Pinto, “Abysses”, 2013, Series: 1/3, Sculpture, table, glass slide, granite cube and steel cable, 200 x 100 x 356 cm, Baró Gallery – São Paulo – Brazil, Photo credit: Diego Santovito.
- Túlio Pinto, “Complicity # 2”, 2013, Series: 1/3, Sculpture, beam steel and blown glass, 160 x 37 x 60 cm, Baró Gallery – São Paulo – Brazil, Photo credit: Courtesy of the artist and FelipeCensi.
- Túlio Pinto, “Consensus”, 2013, Series: 1/3, Installation, shelf 30x20cm, glass slide 120x30x0,6 cm, granite cube 20x20x20, shelf 20x20cm and steel cable, Variable dimensions. Baró Gallery – São Paulo – Brazil, Photo credit: FelipeCensi.
- Túlio Pinto, “Land Line # 3”, 2013, Series: 1/1, Sculpture, Corten steel cube and glass slide, 275 x 300 x 275 cm, Baró Gallery – São Paulo – Brazil, Photo credit: Courtesy of the artist.
- Túlio Pinto, “Compensation # 3”, 2013, Series: 1/1, Sculpture, 02 cubes of steel and glass slide, 210 x 110 x 230 cm, Baró Gallery – São Paulo – Brazil, Photo credit: Courtesy of the artist.
- Túlio Pinto, “Meeting Situation”, 2013, Series: 1/1, Sculpture, 6 m³ of sand and glass slide (160x160x0, 8cm), Variable dimensions. Baró Gallery – São Paulo – Brazil, Photo credit: Courtesy of the artist.
- Túlio Pinto, “Confidents # 1”, 2012, Series: 1/3, Sculpture, 05 wood cubes (50 x 50 x 50 cm each) and fabric, Variable dimensions. Traneudstillingen Exhibition Space – Copenhagen, Denmark, Photo credit: Courtesy of the artist.
- Túlio Pinto, “Lines, 2012”, Series: 1/1, Installation, balloons and helium, Variable dimensions. Oeregaads Parken – Hellerup, Denmark, Photo credit: Courtesy of the artist.
- Túlio Pinto, “Diagonal, 2011”, Series: 1/3, Installation, concrete blocks (150 x 30 x 10 cm each) and fabric, 146 x 900 x 30 cm, Art Museum of Ribeirão Preto. SP – Brazil, Photo credit: Courtesy of the artist.
- Túlio Pinto, “Time – 31 day cycle”, 2010, Series: 1/3, Sculpture, concrete block (150 x 30 x1 0 cm) and balloon, 170 x 50 x 80cm, Art Museum of Piracicaba – SP – Braszil, Photo credit: Courtesy of the artist and Julio Garbellini.
- Túlio Pinto, “4.5 horizontal meters”, 2009, Series: 1/3, Installation, mirror (100 x 100 cm) and 15 wooden cubes (15x15x15 cm each), 100 x 100 x 225 cm, Art Museum of Ribeirão Preto. SP – Brazil, Photo credit: Maurício Froldi.
- Túlio Pinto, “Two Magnitudes”, 2009, Series: 1/1, Installation, fabric (300 x 300cm), steel plate (100 x 100 x 1.5 cm) and steel cable, Variable dimensions. Iberê Camargo Gallery – Gasômetro Usina – Porto Alegre – Brazil, Photo credit: Anderson Astor.
- Túlio Pinto, “Orthogonal Trajectories”, 2009, Series: 1/1, Installation, concrete blocks and wooden cubes, 500x25x425cm, Subterrânea Atelier – Porto Alegre – Brazil, Photo credit: Courtesy of the artist
- Túlio Pinto, “Nadir # 2”, 2013, Series: 1/3, Installation, glass slide, stones and steel cable, Variable dimensions. Acquisition Award at the 13th SNAI, Brazil. Photo credit: Courtesy of the artist.
- Túlio Pinto, “Nadir # 2”, 2013, Series: 1/3, Installation, glass slide, stones and steel cable, Variable dimensions. Acquisition Award at the 13th SNAI, Brazil. Photo credit: Courtesy of the artist.
- Túlio Pinto, “Nadir # 2”, 2013, Series: 1/3, Installation, glass slide, stones and steel cable, Variable dimensions. Acquisition Award at the 13th SNAI, Brazil. Photo credit: Courtesy of the artist.
- Túlio Pinto, “Nadir # 2”, 2013, Series: 1/3, Installation, glass slide, stones and steel cable, Variable dimensions. Acquisition Award at the 13th SNAI, Brazil. Photo credit: Courtesy of the artist.
- Túlio Pinto, “Nadir # 2”, 2013, Series: 1/3, Installation, glass slide, stones and steel cable, Variable dimensions. Acquisition Award at the 13th SNAI, Brazil. Photo credit: Courtesy of the artist.
- Túlio Pinto, “Nadir # 2”, 2013, Series: 1/3, Installation, glass slide, stones and steel cable, Variable dimensions. Acquisition Award at the 13th SNAI, Brazil. Photo credit: Courtesy of the artist.
Translated from Spanish
Everything is amorphous, confusing. I restlessly look for a bond that integrates with the environment as something inaccurate, not codified. I struggle to give form to these transitory states. B’atz is the name of a day in the Maya calendar that means the beginning and the end, to roll and unroll, to tie and untie. The knot is the bond between beings and their beginnings; it is the union that allows to continue on a certain path. The knot is the articulation between kinfolk and/or enemies which maintains a structure and at the same time creates tension between them. This bond between two or more systems also represents a closure, a forced enclosure that grasps through the ropes and that hinders that liberation of a determined gesture: the knot in the throat that submerges the voice. We are beginning a new era of Maya world view that is associated with important events. Departing from an interdisciplinary investigation, anthropological approximately ten years, in the city as in the rural areas, I began to work in the reengagement of images, forms, codes, moorings, baskets, chests, Quipos, candles, Maya ceremonies, with meanings charged of deep energetic presence that mark the passage of time. I believe in artistic expression as a product of the everyday. I situate myself within this perspective, materializing though ephemeral objects, like a candle that is lit, is consumed and finished. That action indicates time. I propose to reprise ritual elements like candles, bundles or baskets, incense, flowers, and of course, energy, to create art objects. I am interested in constructing, intervening, wither the visible through the occult; from the private to the public.
Todo es amorfo, confuso busco con inquietud un lazo que se integran al entorno como algo inexacto, no codificado, lucho por darle cuerpo a estados transitorios. B’atz es el nombre de un día del calendario maya, que significa el inicio y el final, enrollar y desenrollar, amarar y desamarrar. El nudo es el vínculo entre los seres y su principio; es la unión que permite continuar cierto trayecto. El nudo es la articulación entre los semejantes y/o entre los contrarios que mantiene una estructura y al mismo tiempo la tensa. Este lazo entre dos o más sistemas representa también un cierre, una fuerza de clausura que se empuña por los cabos y que impide la liberación de un gesto determinado: el nudo en la garganta sumerge la voz. Estamos empezando un nueva era en la cosmovisión maya que se asocia con eventos importantes. Partiendo de una investigación interdisciplinaria, aproximadamente 10 años en especial antropológica, tanto en la ciudad como en el área rural comencé a trabajar el reencuentro con imágenes, formas, códigos, amarres, tanates, bustos, quipos, candelas, ceremonias mayas, con significados cargados de profunda presencia energética que marcan el tiempo. Creo en la expresión artística como producto de lo cotidiano. Me ubico en esta perspectiva proponiéndome materializar a través de objetos efímeros, como una candela que se enciende, se consume y se termina. Así tal acción marca el tiempo. Me propongo retomar elementos rituales como candelas bultos o tanates, incienso, flores y por supuesto la energía, para crear objetos de arte. Me interesa construir, intervenir, marchitar a partir de lo oculto a lo visible de lo privado a lo público.
Selected Biographical Information
Education / Training
- 1999-2003: Egresado de la Escuela Nacional de Artes Plásticas, Rafael Rodriguez Padilla ciudad de Guatemala. Miembro del grupo TEI talle estudio investigación con métodos y estudios e investigación interdisciplinaria alrededor del arte contemporáneo dirigido por Roberto Cabrera.
Prizes / Fellowships
- 2012: Mención honorífica en la I bienal indígena intercontinental Mexico D.F., Mexico.
- 2010: Ganador de la II ayudas para la creación artística, centro cultural de España, Guatemala.
- 2005: Finalista de arte latinoamericano Juannio, Guatemala.
- 2003: mención honorifica Helvetas, cooperación Suiza en Guatemala.
- 2002: tercer lugar en el salón nacional de acuarela, ministerio de cultura y deporte.
- 2001: Segundo lugar en pintura, jóvenes+ humanitarios Guatemala.
Solo Exhibitions
- 2012: “B`ATZ`”, Galería Panza verde, Antigua, Guatemala.
- 2012: “P`ICH YA`”, Galería Kilometro Cero, Palacio Nacional de la Cultura Ciudad de Guatemala.
- 2010: “PODERES OCULTOS”, Centro Cultural de España, Guatemala.
- 2001: “MEMORIAS”, salón de exposiciones San Pedro La Laguna, Sololá.
Group Exhibitions
- 2013: “Subasta de arte Latinoamericano Juannio”, SOMA centro cultural Guatemala.
- 2012: “Bienal Indígena Intercontinental”, Museo de arte popular México, Mexico City, Mexico.
- 2012: “Simposio de escultura”, Antigua Guatemala
- 2012: “FIN DE CICLO”, Centro Cultural Hermanos Aguilar, San Salvador, El Salvador.
- 2011: “Subasta de arte Latinoamericano Juannio”, Museo de arte Moderno Guatemala.
- 2010: “XVII bienal de arte Paiz“, Guatemala.
- 2010: “Subasta de arte Latinoamericano Juannio”, Museo de arte Moderno Guatemala.
- 2009: “Subasta de arte latinoamericano Juannio. MORFO Arte joven emergente”, Centro Cultural Metropolitano, Guatemala.
- 2007: “OTRA MIRADA”, Centro Cultural Luis Cardoza y Aragon, Embajada de Mexico, Guatemala.
- 2007: “SHHH”, Centro Cultural de España, Guatemala.
- 2007: “Subasta de arte latinoamericano, Juannio”, Museo de Arte Moderno, Guatemala.
- 2004: “GUATERICA”, Museo del Niño, San José, Costa Rica.
- 2004: “Arte Mixto, Comunicarte”, Museo Santo Domingo, Antigua, Guatemala.
- 2004: “Agua color de vida”, Helvetas, Guatemala.
- 2002: XIII bienal de arte paiz, Guatemala.
Publications
- Catalogo de la I bienal continental de artes indígenas contemporáneas, Mexico 2012
- Catalogos de juannio 2013, 2011, 2009, 2007, 2006 y 2005, Guatemala.
- Catalogo de la XVII bienal de arte paiz, Guatemala.
Collections
- Lars Romer Coppenhague, Denmark.
- Dexter Lelain San Francisco, USA.
- Chris Eaton Antigua, Guatemala.
Links
- Antonio Pichillá, “Nudo”, 2012, Wood and fabric, 48 x 63 in. (122 x 160 cm). Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Nudo”, 2011, Wood and textile, 39 x 28 in. (100 X 70 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Quipo”, 2004, Wood and textil, 39 x 19 x 1.5 in. (100 x 50 x 4 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Quetzalcoatl,” 2010, Fabric, 390 x 156 x 19 in. (1000 x 400 x 50 cm), Guatemala, Photo credit: Carlos Lilo.
- Antonio Pichillá, “La piedra del sol”, 2008, Fabric, 39 x 39 x 4 in. (100 x 100 x 10 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Glifo de kukulkan”, 2010, Stone and paraffin, 11 x 17 x 1.5 in (28 x 43 x 4 cm)., Guatemala, Credit: Rene de Carufel.
- Antonio Pichillá, “Glifo”, 2010, Wood and paraffin, 8 x 11 x 1.5 in. (21 x 28 x 4 cm), Guatemala, Credit: Rene de Carufel.
- Antonio Pichillá, “Lo oculto”, 2005, Wood and fabric, 25 x 25 x 9 in. (65 x 65 x 24 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “El viaje”, 2010, Wood and fabric, 39 x 39 x 10 in. (100 x 100 x 24 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Anudar y desanudar”, 2012, Oil on canvas, 61 x 71 in. (155 x 180 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Vida”, 2011, parafina, 12 x 8 x 4 in. (30 x 20 x 10 cm), Mexico, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Instalando energia”, 2012, Oil on canvas, 24 x 18 in. (60 x 45 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Instalando energia”, 2013, Oil on canvas, 73 x 43 in. (185 x 135 cm), Guatemala, Photo credit: Courtesy of the artist.
- Antonio Pichillá, “Quetzalcoatl”, 2010, DVD video: 56 sec, Guatemala, Credit: filming and editing: Francisco Quiacain.
- Antonio Pichillá, “Me consume”, 2010, DVD video: 2 min y 16 sec, Guatemala, Credit: filming: Juan Manuel Sepulveda, editing: Francisco Quiacain.
- Antonio Pichilla, “abuelo”, 2013, Stone and artisan fabric, 30 x 20 x 10 cm. Photo credit: Courtesy of the artist.
- Antonio Pichilla, “glifo”, 2011, Stone and parafifn wax, 10 x 30 x 30 cm. Photo credit: Courtesy of the artist.
- Antonio Pichilla, “quipo”, 2014, Oil on canvas and artisan fabric, 100 x 55 x 8 cm. Photo credit: Courtesy of the artist.
- Antonio Pichilla, “quipo”, 2014, Oil on canvas and artisan fabric, 120 x 80 x 10 cm. Photo credit: Courtesy of the artist.
- Antonio Pichilla, “energia”, 2013, Oil on canvas, 200 x 120 cm. Photo credit: Courtesy of the artist.
- Antonio Pichilla, “b’atz’ enrollar y desenrollar”, 2010, Oil on canvas and thread, 114 x 30 cm. Photo credit: Courtesy of the artist.
- Antonio pichilla, “negro anudado”, 2014, Oil on canvas, wood and metal, 107 x 65 x 10 cm. Photo credit: Courtesy of the artist.
Selected Biographical Information
Prizes / Fellowships
- 1998: UNESCO-Aschberg, London, UK.
Solo Exhibitions
- 2013: “Stairway to Heaven”, Dot fiftyone, Miami, USA.
- 2013: “Geometría 4 en kilo”, Galería Artepuy, Caracas, Venezuela.
- 2012: “Todasana”, Venezuela.
- 2012: Hand painted drums for the tradicional Saint John Festival in the town of Todasana, Venezuela.
- 2011: Pepe López en la Residencia de Francia, French embassy in Caracas, Venezuela.
- 2010: “Oxigone punk & the gossip lines series”, Galerie 13-Jeannette Mariani, Paris, France.
- 2010: “Puño e cruces”, Galería Fernando Zubillaga, Caracas, Venezuela.
- 2009: “Money boom”, Galerie 13-Jeannette Mariani, Paris, France.
- 2008: “Big, Bang, Boom”, Galería Fernando Zubillaga, Caracas, Venezuela.
- 2008: Project room, Hardcore Art Contemporary, Miami, USA.
Group Exhibitions
- 2014: “New Territories: Design, Art and Craft from Latin America 2000-2013”, Museum of arts and design New York City, USA.
- 2014: “5×5 Real un-real”, Venezuelan American Endowment for the Arts, New York City, USA.
- 2013: “Utopías de ilusión”, Kiosco, NUBE gallery, Santa Cruz, Bolivia.
- 2012: “5×5, Real-un real”, Museo de arte Acarigua-Araure, Acarigua, Venezuela.
- 2012: “The wave”, Molaa, Los Angeles, USA.
- 2012: 6emme Bienal d’art contemporain de Marcigny, France.
- 2012: “País en vilo”, Faria-Fábregas, Caracas, Venezuela.
- 2012: “Línea crítica 2”, Artepuy, Caracas, Venezuela.
- 2012: “Blanco y negro”, Galería Fernando Zubillaga, Caracas, Venezuela.
- 2012: “Gego, testimonios y vigencia”, Museo de arte Contemporáneo, Caracas, Venezuela.
- 2011: “Línea crítica 1”, Artepuy, Caracas, Venezuela.
- 2011: “Dibujo reposicionado”, 39 Galería, Caracas, Venezuela.
- Pepe López, “Puño e cruces”, 2010, 400 bamboo kites’ structures installation, Variable and adaptable dimensions. Location: Galería Fernando Zubillaga, Caracas. Photo credit: Carlos German Rojas
- Pepe López, “Puño e cruces”, 2010, 400 bamboo kites’ structures installation, Variable and adaptable dimensions. Location: Galería Fernando Zubillaga, Caracas. Photo credit: Carlos German Rojas
- Pepe López, “Puño e cruces”, 2010, 400 bamboo kites’ structures installation, Variable and adaptable dimensions. Location: Galería Fernando Zubillaga, Caracas. Photo credit: Carlos German Rojas
- Pepe López, “La sexualidad contaminada”, 1992, Ten thousand meters of water hoses come out of the gallery walls, spreading all over the exhibition space, Variable and adaptable dimensions. Location: Sala Mendoza, Caracas. Image courtesy of the artist
- Pepe López, “Echando un Macadam”, 2006, in collaboration with dj Lupita Plata, performance consisting of a large central pile of discarded printing paper, placed in the middle of a room. The artist invites the public to spread, along with him, the scrap papers on the gallery floor, until it becomes fully covered, Variable dimensions. Location: Galería Fernando Zubillaga. Image courtesy of the artist
- Pepe López, “Echando un Macadam”, 2006, in collaboration with dj Lupita Plata, performance consisting of a large central pile of discarded printing paper, placed in the middle of a room. The artist invites the public to spread, along with him, the scrap papers on the gallery floor, until it becomes fully covered, Variable dimensions. Location: Galería Fernando Zubillaga. Image courtesy of the artist
- Pepe López, “Geometría 4 en kilo”, 2013, Puzzle of 500 cardboard cut-out pieces, resulting from the forms drawn after the projection of the buildings of Petare, Variable dimensions. Image courtesy of the artist.
- Pepe López, “Geometría 4 en kilo”, 2013, Puzzle of 500 cardboard cut-out pieces, resulting from the forms drawn after the projection of the buildings of Petare, Variable dimensions. Image courtesy of the artist.
- Pepe López, “Todosana”, 2012, Work in collaboration with artist and musician Armando Pantoja, 40 hand carved wooden drums, painted wiyh colorful geometric shapes ,Variable dimensions. Image courtesy of the artist
- Pepe López, “Todosana”, 2012, Work in collaboration with artist and musician Armando Pantoja, 40 hand carved wooden drums, painted wiyh colorful geometric shapes ,Variable dimensions. Photo credit: Paloma López
- Pepe López, “Todosana”, 2012, Work in collaboration with artist and musician Armando Pantoja, 40 hand carved wooden drums, painted wiyh colorful geometric shapes ,Variable dimensions. Photo credit: Isabela Eseverri
- Pepe López, “Mondrian meets Hansaplast”, 2005, Performance, band-aids on wall, Diameter 260 cm. Photo credit: Carlos Márquez
- Pepe López “Caracas mapa #5”, 2012, Series: Fantastic plastic, Urban Cartographies, Collage on paper, Variable dimensions, Private Collection. Photo credit: Paloma López
- Pepe López, “Caracas Showime”, 2010, Series: Fantastic Plastic, Collage on tar, Variable dimensions. Image courtesy of the artist
- Pepe López, “Geometría blanda”, 2010, 300 Chinese plastic bags, stitched one over the other, 39 x 39 cm. Private Collection. Photo credit: Carlos Germán Rojas
[…] Similarly in the project, the initial drawing is mixed with the method of working that will constitute the work. It’s not the abstract condition of the work, just an idea. It contains all the stages, through which the work should pass — technical, specific, real work — all this is noted down in the drawing, just as the stages of the work. At the slaughterhouse, for example, the map of the BURACOS (HOLES) to be made on the ground was the result of an expansion in minor schematic notes, done as a resource of thought, and carried out during a meeting with a group of artists from the Arte/Cidade project. It is this expanded drawing that serves as a guide to place the holes.
Traducido del inglés
De manera similar en el proyecto, el dibujo inicial se combina con el método de trabajo que constituirá la obra. No es la condición abstracta de la obra sino sólo una idea. Contiene todas las fases por las que una obra debe pasar: lo técnico, lo específico, la obra real. Todas ellas consideradas en el dibujo, como fases de la obra. En el matadero, por ejemplo, el mapa de los Buracos que se debe hacer sobre el suelo, fue el resultado de la extensión de pequeñas notas esquemáticas, realizadas como recurso de pensamiento y llevadas a cabo durante una reunión con un grupo de artistas del proyecto Arte/Cidade. Es este dibujo expandido lo que sirve como guía para colocar los orificios.
Selected Biographical Information
Education / Training
- PhD. In Arts at Art Department in School of Communications and Arts, University of São Paulo (USP).
Prizes / Fellowships
- 1991: Fellowship Vitae of Arts, São Paulo, Brazil.
- 1990: Prize Brasília of Arts, Brasília, DF, Brazil.
Solo Exhibitions
- 2013: “Escadas (Ladders)”, Casa França Brasil, Rio de Janeiro, Brazil.
- 2012: “Serpentes (Serpents)”, Galeria Vermelho, São Paulo, Brazil.
- 2012: “La Carga (The Load)”, Museo Experimental El Eco, Mexico City, Mexico.
- 2010: “Carmela Gross- Um Corpo de Idéias (Carmela Gross-A body of Works)”, Pinacoteca do Estado de São Paulo, Brazil.
- 2008: “SE VENDE (For Sale)”, Matadero Madrid, Spain.
- 2006: “SUL (South)”, Instituto Tomie Ohtake, São Paulo, Brazil.
- 2004: “Bleujaunerougerouge (Blueyellowredred)”, Permanent Architectural Intervention – École René Binet, Paris, France.
- 1994: “Facas (Knives)”, European Ceramics Work Centre, s’Hertogenbosch, Holland.
- 1993: “Hélices (Propellers)”, Museu de Arte Moderna do Rio de Janeiro, Brazil.
- 1992: “Desenhos-Solo(Drawings-Floors)”, Museu de Arte de São Paulo, Brazil.
Group Exhibitions
- 2012: “Arte de contradicciones. Pop, realismos y política. Brasil-Argentina 1960”, Fundación Proa, Buenos Aires, Argentina.
- 2008: SCAPE 2008 Christchurch Biennal of Art in Public Space, New Zealand.
- 2007: “2th Moscow Biennale of Contemporary Art“, Moscow, Russia.
- 2005: “Karakoy Pedestrian Exhibition 2”, Istanbul, Turkey.
- 2005: 5ª Bienal do Mercosul, Porto Alegre, Brasil – Permanent Architectural Intervention CASCATA.
- 2002: “ArteCidadeZonaLeste”, SESC Belenzinho, São Paulo, Brazil.
- 2002: “XXV International Biennial of Sao Paulo“, Brazil.
- 2001: “Experiment Experiência/Art in Brazil 1958–2000”, Museum of Modern Art Oxford, UK.
- 1999: “Re-Aligning Vision-Alternative Currents in South American Drawing”, Miami Art Museum, U.S.A.
- 1996: “Beelden uit Brazilie”, Stedelijk Museum Schiedam, Holland.
Publications
- Art Nexus, n. 86, vol. 11, September- November 2012, p. 130-131
- Carmela Gross: um corpo de ideias (Carmela Gross: a body of works). Apresentação Marcelo Mattos Araújo; curadoria e texto Ivo Mesquita; textos Carla Zaccagnini, Marta Bogéa; cronologia Juliana Ripoli. São Paulo, Pinacoteca do Estado, 2010. Livro. São Paulo:Pinacoteca do Estado, 2011.
- Carmela Gross: Escadas (Carmela Gross: Ladders)/ Organização: Marta Bogéa. Rio de Janeiro: Fundação Casa França-Brasil, 2013.
- SALZSTEIN, Sônia e BANDEIRA, João (org.). Historicity and contemporary art – essays and talks, 1 ed., São Paulo: USP CEUMA, 2012.
Collections
- Museum of Modern Art, New York, USA.
- Museu de Arte Contemporânea da USP, São Paulo, Brazil.
- Museu de Arte Moderna de São Paulo, Brazil.
- Pinacoteca do Estado de São Paulo, Brazil.
- Museu de Arte de Brasília, DF, Brazil.
- Culturegest – Caixa Geral de Depósitos, Lisboa, Portugal.
- Museu de Arte Moderna Aloísio Magalhães, Recife, PE, Brazil.
- Carmela Gross, “Minefield 01”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.
- Carmela Gross, “Minefield 02”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.
- Carmela Gross, “Minefield 03”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.
- Carmela Gross, “Minefield 04”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.
- Carmela Gross, “Minefield 05”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.
- Carmela Gross, “Minefield 06”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.
- Carmela Gross, “Minefield 07”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.
- Carmela Gross, “Minefield 08”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.
- Carmela Gross, “Minefield 09”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.
- Carmela Gross, “Minefield 10”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.
- Carmela Gross, “Holes 01”, 1994, Holes on the floor, 18m x 18m. Site specific project. Location: Ancient Municipal Slaughterhouse of São Paulo, Brazil. Photo credit: Rômulo Fialdini
- Carmela Gross, “Holes 02”, 1994, Holes on the floor, 18m x 18m. Site specific project. Location: Ancient Municipal Slaughterhouse of São Paulo, Brazil. Photo credit: Rômulo Fialdini
- Carmela Gross, “Two Holes 01”, 2012, Holes on the wall, 25cm x 25cm and 30cm x 30cm. Site specific project. Location: Vermelho Gallery, São Paulo, Brazil. Photo credit: João Nitsche
- Carmela Gross, “Two Holes 02”, 2012, Holes on the wall, 25cm x 25cm and 30cm x 30cm. Site specific project. Location: Vermelho Gallery, São Paulo, Brazil. Photo credit: João Nitsche
- Carmela Gross, “Two Holes 03”, 2012, Holes on the wall, 25cm x 25cm and 30cm x 30cm. Site specific project. Location: Vermelho Gallery, São Paulo, Brazil. Photo credit: João Nitsche
On painting
A wall, the painting, the floor, the ceiling, the mist in the room.
The organ, the flute, the hemlock.
The truth, the specter, the real.
What is it that lives?, said the hare to the tortoise, is it the hemlock or the rose? The rose said, it is me, I shall always live, whilst the room shall grow and the sound shall ring in our ears. But my life shall never cease. Please testify to this never-ending truth and you too, shall live as me.
Traducido del inglés
Sobre la pintura
Un muro, la pintura, el piso, el techo, la neblina en la habitación.
El órgano, la flauta, la cicuta.
La verdad, el espectro, lo real.
¿Qué es lo que vive?, dijo la liebre a la tortuga, ¿es la cicuta o la rosa? La rosa dijo,
soy yo, siempre viviré, mientras que la habitación crezca y el sonido repique en nuestros oídos. Pero mi vida nunca terminará. Favor de testificar a esta verdad sinfín y tú también vivirás como yo.
Selected Biographical Information
Education / Training
- Derecho, Universidad de los Andes, Bogotá, Colombia.
Prizes / Fellowships
- 2011: DAAD Berliner Kunstler programm, Berlin, Germany.
- 2003: Finalista Premio Luis Caballero, Planetario Distrital, Bogotá, Colombia.
- 1999: Premio Johnnie Walker en las Artes, Biblioteca Luis Angel Arango, Bogotá, Colombia.
- 1993: Primer Premio, VI Salón Regional, Corferias, Bogotá, Colombia.
- 1993: Beca Nacional de Creación, Colcultura, Corferias, Bogotá, Colombia.
Solo Exhibitions
- 2012: “A door repeated and tha wardrobe fell”, Thomas Schulte Galerie, Berlín, Germany.
- 2011: “At Actium and a tribute to John McCracken”, DAAD Galerie, Berlin, Germany.
- 2008-2009: “El Salón de actos, “La tormenta de Constable”,”Plataformas verdaderas”, “Poblaciones”, Colegio de la Sagrada Familia, 41 Salón Nacional, Cali, Colombia.
- 2008: “Dentro del espacio expositivo”, Periférico Caracas, Caracas, Venezuela.
- 2003: “Local (tllaqpc)”, Premio Luis Caballero, Galería Santa Fe, Bogotá, Colombia.
- 2003: “Local (BOG-CCS)”, Museo de Arte Contemporáneo de Caracas Sofía Imber, Caracas, Venezuela.
- 2001: “Sin las palabras circundantes”, Museo de Arte Moderno, Bogotá, Colombia.
- 2001: “Sin las palabras circundantes”, Museo de Arte de la Universidad Nacional, Bogotá, Colombia.
- 1993: “Enchape”, Museo de Arte de la Universidad Nacional, Bogotá, Colombia.
Group Exhibitions
- 2013: “Latin American Art at Hunter, From the Colección Patricia Phelps de Cisneros”, Hunter College, New York, USA.
- 2013: “A door repeated and the wardrobe fell”, abc art berlin contemporary, Berlin, Germany.
- 2011: “Beuys y mas allá – el enseñar como arte,” Versión Colombia, Biblioteca Luis Angel Arango, Bogotá, Colombia.
- 2008: “Correspondences, Contemporary Art from the Colección Patricia Phelps de Cisneros”, Wheaton College, Norton Massachusetts, USA.
- 2008: “Geografias (in)visibles, Arte Contemporáneo Latinoamericano en la Colección Patricia Phelps de Cisneros”, Centro León, Dominican Republican.
- 2006: “Parallel Economies”, Wertz Contemporary, Atlanta, USA.
- 2005: “Cuerpo Plural, Abstraccionismos en la colección Maccsi”, Museo de Arte Contemporáneo de Caracas Sofía Imber, Caracas, Venezuela.
- 2005: “Diálogos, Colección Cisneros”, Museo de Arte Moderno de Bogotá, Colombia.
- 1995: “Mesótica- the america non representativa”, Museo de Arte y Diseño Contemporáneo, San José de Costa Rica.
- 1995: “Transatlántica- the america-europa non representativa”, Museo Alejandro Otero, Caracas, Venezuela.
Publications
- 2013: Turme aus Alten Turen by Katrin Schirner.
- 2011: So malerisch kann Schrott sein, by Julia Gwendolyn Schneider, in: taz.die tageszeitung, Berlin.
- 2011: Kunst ist alles andere als Schrott, by Markus Woeller, in: sounds like me. com, Berlin.
- 2011: Schaut auf dieses Land, by Sebastian Frenzel, in: Monopol Magazin, Berlin.
- 2011: Boceto, Trampa e Instalación, by Sylvia Suárez, in: Beuys y más allá, Biblioteca Luis Angel Arango, Bogotá.
- 2009: Urgent, Various venues, Cali, Colombia, by Jens Hoffmann, in: Frieze.
- 2008: Moebius Strips por Gean Moreno, in: Art Nexus issue 73.
- 2006: Hey, something is happening out there! Natalia Gutiérrez, in: Arte al Día, Bogotá, 2006.
- 2006: Velocidades por Eugenio Espinoza, in: Art Nexus issue 61, Miami, 2006.
- 2005: Ilegibilidad por Eduardo Serrano, Alianza Colombo- Francesa, Bogotá.
- 2003: Local (BOG-CCS), El lugar del pensamiento por Carmen María Jaramillo, Museo de Arte Contemporáneo Sofía Imber, Caracas.
- 2003: Duración por María Iovino, Universidad Eafit, Medellín.
- 2002: Instalador by Jaime Cerón, Fundación Incertidumbre, octubre, Bogotá.
- 2001: Sin las palabras circundantes by María Iovino, Museo de Arte de la Universidad Nacional, Bogotá.
- 2011: Sin las palabras circundantes (Cronología), by María Iovino, Museo de Arte Moderno de Bogotá.
- 1998: A través del Espejo por Carmen María Jaramillo, Museo de Arte Moderno de Bogotá.
- 1998: Soporte por Carmen María Jaramillo, Centro Cultural William Shakespeare, Bogotá.
- 1993: Enchape by José Hernán Aguilar, Museo de Arte de la Universidad Nacional, Bogotá.
- 1992: Todo simplificado by Eugenio Espinoza, Galería Sotavento, Caracas.
- 1991: Adulterado by José Hernán Aguilar, El Tiempo, Bogotá.
Collections
- Colección Sayago y Pardon, Los Angeles.
- Colección Marie-Josée Kravis, New York.
- Colección Patricia Phelps de Cisneros, Caracas- New York.
- Museo de Arte Contemporáneo de Caracas, Sofia Imber.
- Museo de Bellas Artes de Caracas.
- Museo de Arte de la Universidad Nacional, Bogotá.
- Museo de Arte Moderno de Bogotá.
- Museo de Arte Moderno de Rio de Janeiro.
- Museo de Arte Moderno La Tertulia, Cali.
- Danilo Dueñas, “Parqueando de noche”, 1991, Painted wood, 29.3 x 71 cm, Private Collection. Photo credit: Oscar Monsalve
- Danilo Dueñas, “Cruz suprematista”, 1994, Painted wood, 37.4 x 26.5 cm, Private Collection. Photo credit: Oscar Monsalve
- Danilo Dueñas, “Taxonomía”, 2000, Painted wood and formica over formica, 96 x 40 cm,Private Collection.
- Danilo Dueñas, “Tllaqpc” (Installation detail), 2003, Formica, styrofoam and wood, Variable dimensions, Site specific project. Location: Galería Santa fe, Planetario Distrital. Photo credit: Victor Robledo
- Danilo Dueñas, “Poblaciones”, 2005, Wood and formica on wood, Private Collection. Photo Credits: Oscar Monsalve
- Danilo Dueñas, “Velocidades”, 2005, Found tape on wall, variable dimensions, Site specific project. Locations: Galería Casas Riegner. Patricia Phelps de Cisneros Collection. Photo credit: Oscar Monsalve
- Danilo Dueñas, “Paredes, pedestales y colchonetas encontradas de la anterior exposición y de la contrucción del espacio”, 2008, Walls, photos, tables, mattresses, dust, etc., Variable dimensions, Site specific project. Location: Periférico Caracas, “Dentro del espacio expositivo”. Image courtesy of the artist
- Danilo Dueñas, “L.A.”, 2008, Wardrobe, tires, and flasks of found chemicals, Variable dimensions, Site specific project. Location: 41 Salón Nacional, Cali, “Salón de Actos”. Image courtesy of the artist
- Danilo Dueñas, “Llanura dilatada”, 2009, Collage y painted wood, 44.8 x 44.6 cm, Photo credits: Oscar Monsalve
- Danilo Dueñas, “Guardaescobas destapados”, 2009, Removed baseboards, Variable dimensions, Site specific project. Location: Galería Casas Riegner. Photo credits: Oscar Monsalve
- Danilo Dueñas, “All the grey”, 2009, Found pedestals with sticky tape, Variable dimensions, Site specific project. Location: Galería Casas Riegner. Photo credits: Oscar Monsalve
- Danilo Dueñas, “El ojo redondo y austero de Courbet”, 2009, Collage and painted wood, 41 x 44 cm, Photo credits: Oscar Monsalve
- Danilo Dueñas, “Piano herido”, 2009, Found piano, packing covers, plastic and cardboard, Site specific project. Location: Galería La Cometa. Image courtesy of the artist
- Danilo Dueñas, “Vara”, 2009, Painted and sanded wood on formica, 60 x 42 cm, Private Collection. Photo credit: Oscar Monsalve
- Danilo Dueñas, “Cabinets for pictures”, 2011, Found exhibition tables, cables, florescent lamps, and works by the artist, Variable dimensions, Site specific project. Location: Biblioteca Luis Angel Arango, “Beuys y más allá”. Photo credit: Oscar Monsalve
Translated from Spanish
Which god, which infinite being can cease to be reduced into a single volume? For the iconoclast, the divine is indescribable, and every image of it is a lie. Precisely, the status of the image as such is the constant questioning that structures my work. Since my first exhibitions, the pop-style images began to run out, little by little, in their own repetition, until reaching present times, in which a symbolic bankruptcy of the image expropriated radically from its meaning, is defined in my most recent work. My current work is inscribed in this same process—the liberation of any symbolic association with reality. I have tried to settle in this equation, a discrete critical bias to the post-modern, which tries to idolize the maker of images in detriment of the image. The painter himself disappears and the spectator, used to the discourse of the figurative, ends up lost, facing the annulation of history and the vindication of the essential: form and color. Thus, in my work, I aim to confront certain canons of the Latin American image, through a problematization of the space: the obsession for narrative, the extreme sentimentality, the morbid fascination with the private. Opposite to that there is a constructive tension in search for something more universal, in spite of my own anxiety for harmony and thanks to an intimate conviction to my own elements.
¿Qué dios, qué ser infinito puede dejarse reducir en un sólo volumen? Para el iconoclasta, lo divino es indescriptible; y toda imagen de este, una mentira. Precisamente, el estatus de la imagen como tal es el constante cuestionamiento que estructura mi obra. Desde mis primeras muestras, las imágenes de corte pop se agotaban exhaustas, poco a poco, en su propia repetición; hasta llegar a la actualidad, en que una bancarrota simbólica de la imagen, expropiada radicalmente de su sentido, se concreta en mi obra más reciente. En este mismo proceso se inscribe mi proyecto actual: la liberación de cualquier asociación simbólica con la realidad. He intentado en esta ecuación cuajar un discreto sesgo crítico a lo post-moderno, aquel que se dedica a sacralizar al fabricante de imágenes en desmedro de la imagen. El pintor mismo desaparece y el espectador acostumbrado al discurso de lo figurativo termina extraviado frente a la anulación de la historia y la reivindicación de lo esencial: la forma y el color. Así, en mi obra pretendo a través de una problematización del espacio, confrontarme a ciertos cánones de la imagen latinoamericana: la obsesión por la narración, el sentimentalismo exacerbado, el morbo de lo privado. Frente a ellos se establece una tensión constructiva en búsqueda de algo más universal, a pesar de mi propia angustia por la armonía y gracias a una íntima convicción de mis propios elementos.
Selected Biographical Information
Education / Training
- 1994-2000: Escuela de Bellas Artes Corriente Alterna.
Prizes / Scholarships
- Medalla de Oro en la Escuela de arte Corriente Alterna(Lima, Peru).
- 2010- 2011: Beca de la Fundacion Cisneros.
Solo Exhibitions
- 2013: “IGNOTO“, Galeria Lucia de la Puente, Lima, Peru.
- 2012: “Superficies”, Galeria Luis Miroquesada Garland, Lima, Peru.
- 2011: “Concreto”, Galeria Lucia de la Puente, Lima, Peru.
- 2006: “Post”, Galeria Lucia de la Puente, Lima, Peru.
- 2005: “Boarding Pass”, Galeria Punctum, Lima, Peru.
- 2003: “Instrucción Manual”, Galeria Artco, Lima, Peru.
Group Exhibitions
- 2013: “La ultima Dacada”, Galeria icpna, Lima, Peru.
- 2013: Colectiva Galeria Fernando Pradilla, Madrid, Spain.
- 2010: Trienal de Chile, Santiago de Chile.
- 2006: “Miradas de Fin de Siglo, Transito de Imágenes”, Museo de Arte de Lima(MALI), Lima, Peru.
- 2001: “Emergencia”, Casa de America, Madrid, Spain.
Collections
- Coleccion Cisneros.
- Ella Cisneros.
- Eduardo Hoschild.
Links
- Jorge Cabieses, “S/T”, 2011, Series: Concreto, Pallets / Polyurethane paint, mirror, 50 x 111 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2011, Series: Concreto, 46.9 x 93.8 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2011, Series: Concreto, Melamine / Polyurethane paint, 65.3 x 107.6 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2012, Series: Decapitados, Tapestry and acrylic, 57.6 x 85.3 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2012, Series: Decapitados, 42.3 x 53.8 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2012, Serie : Decapitados, Tapestry and acrylic, 26.9 x 38.4 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2012, Melamine and polyurethane paint, 69.2 x 230.7 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2012, 93.8 x 256.1 cm. Cisneros Collection. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “S/T”, 2012, Pallets, plastic, intervention on wall, 84.6 x 84.6 cm. Eduardo Hoschild Collection. Image courtesy of the artist.
- Jorge Cabieses, “S/T”, 2012, Series: transfiguraciones 25 piezas, Silkscreen on religious poster 1930, 19.2 x 26.9 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “Mirabilia 4”, 2013, Series: Mirabilia, Phenolic plywood, polyurethane paint, 46.9 x 170.7 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “Mirabilia 3”, 2013, Series: Mirabilia, Collage, silkscreen, 53.8 x 230.7 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “Mirabilia 2”, 2013, Religious poster and polyurethane paint, Variable dimensions. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “Mirabilia 3”, 2013, Intervention on poster with polyurethane paint, 50 x 69.2 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “Mirabilia 5”, 2013, Series: pieza única, Print on vinyl, 96.1 x 192.3 cm. Photo credit: Juan Pablo Murrugarra
- Jorge Cabieses, “Ignoto”, 2013, Series: Unica, Plastic pallets on adhesive vinyl, 2.40 x 6.00 cm. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “Ignoto”, 2013, Series: 18 piezas, Silkscreen on touristic lithography, 32 x 37 cm. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “Ignoto”, 2013, Series: 18 piezas, Silkscreen on touristic lithography, 32 x 37 cm. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “Ignoto”, 2013, Series: 18 piezas, Silkscreen on touristic lithography, 32 x 37 cm. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “Fruto Prohibido”, 2015, Screen printing on lithographic illustrations, 27.50 x 37 cm. Site-specific project. Location: Galeria El Museo Bogota, Bogota, Colombia. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “Pinacoteca”, 2015, Folded sheets of magazines, Variable dimensions. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “S/T”, 2014, Acrylic on canvas, 2.00 cm x 3.00 cm. Site-specific project. Location: Galeria Lucia de la Puente, Lima, Perú. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “S/T”, 2014, Polyurethane on melamine plate, 1.60 x 2.20 cm. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “S/T”, 2015, Polyurethane on phenolic plywood board, 1.20 x 1.40 cm. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “S/T”, 2015, Polyurethane on melamine plate, 1.22 x 1.54 cm. Site-specific project. Location: Galeria Lucia de la Puente, Lima, Perú. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “S/T”, 2015, Polyurethane on phenolic plywood board, 1.22 x 1.54 cm. Site-specific project. Location: Galeria Lucia de la Puente, Lima, Peru. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “S/T”, 2015, Polyurethane on phenolic plywood board, 1.22 x 1.54 cm. Site-specific project. Location: Galeria Lucia de la Puente, Lima, Peru. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “Ignoto 2”, 2013, Series: unica, Polyurethane on melamine plate, 3.00 x 11.00 cm. Photo credit: Juan Pablo Murrugarra.
- Jorge Cabieses, “Ignoto”, 2013, Series: unica, Melamine modules on digital print, Variable dimensions. Photo credit: Juan Pablo Murrugarra.
Translated from Spanish
I explore aesthetic theories through site-specific intervention and installation. I appeal to experimentation as a fundamental medium and I combine it with other traditional elements in sculpture or painting, as well as appropriation and relocation of existing cultural patrimony. The everyday image of presentations and representations I produce, are the result of these tangled combinations. My work appeals to the judgment of apparent reality. Since the last few years I have been working intensively with installations and interventions, meaning that I work mainly in specific exhibition spaces. The works are conceptually materialized within and from the place where they will be exhibited. In my work, the de-codification of the space is clearly a place of departure. Sometimes this approach within the exhibition context helps to propose something new and other times to adapt a preexisting idea that works in the space. As modus operandi, I am interested not in forcing ideas nor relationships between them and the place. It is fundamental to perceive and understand the environment, establish and mature the works to then proceed to measure time between both parts. Whichever the process is in each case, it is always necessary to establish a relationship with the place before beginning the work process. In my work, I use the edition of recognizable objects and their symbolic charge to configure a new language. Truthfully, I think about objects as letters that allow me to make words that did not exist before this combination that I propose. In turn, the objects used also retain their initial aural signifier, issue that is not a minor factor in the decision of its use. There is a net of meanings and signifiers that structure each piece. I also write. I began to do it simultaneous to my first installations since it helped to put into words the research process as it was happening and, above all, taking into account that the work was going to be destined to disappear after the exhibition. Something similar happened with the Sauna-revista de arte texts. For me, to be critical is not only to think about the work of somebody else or an idea in particular. The act of writing helps me to re-read my work in relation to what I am speaking about. The questions I have as an artist are not the same as the ones I have when I produce a text. Clearly, I do not consider myself an art critic, but writing about what happens around me also functions as the research for my work.
Me dedico a la exploración de teorías estéticas a partir la intervención y la instalación de sitio específico. Apelo a la experimentación como medio fundamental y la combino con otros elementos de tradición escultórica y/o pictórica, así como también con la apropiación y reubicación de bienes culturales existentes. La imagen de cotidianidad de las presentaciones y representaciones a las que llego, son el resultado de tan entramadas combinaciones. Mi labor apela al juicio sobre la realidad aparente. En los últimos años vengo trabajando intensamente en instalaciones e intervenciones, quiero decir que trabajo mayormente a partir de los espacios de exhibición concretos. Las obras se materializan conceptualmente en y desde el lugar donde van a exhibirse: en mi obra la decodificación del espacio es claramente un punto de partida. Algunas veces esa aproximación con el contexto de exhibición sirve para plantear algo nuevo y otras veces para adaptar alguna idea preexistente que funciona con el lugar. Como modo de operar me interesa no forzar ideas ni relaciones entre ellas y el lugar. Percibir y entender el entorno, asentar y madurar las obras para luego medir el tiempo entre ambas partes es algo fundamental. Pero sea como sea el desarrollo específico de cada caso, siempre es necesario establecer una relación con el lugar antes de empezar el proceso de trabajo. Por otro lado, en mis obras utilizo la edición de objetos reconocibles y de su carga simbólica para configurar un lenguaje nuevo. En realidad, pienso a los objetos como letras que me permiten armar palabras que no existían antes de esta combinación que propongo. A su vez, también los objetos usados conservan su aura significante inicial, cuestión que no es menor en la decisión de su uso. Hay una red de significados y significantes que estructuran cada pieza. También escribo. Comencé a hacerlo en simultáneo con mis primeras instalaciones, me servía poner en palabras el proceso de la investigación a medida que iba sucediendo y, sobretodo, teniendo en cuenta que la obra estaba destinada a desaparecer luego de su exhibición. Con los textos de Sauna-revista de arte pasa algo parecido. Para mi hacer una crítica no es solamnete pensar la obra de alguien o pensar alguna idea en particular, ese acto de escritura fundamentalmente me sirve para releer mi trabajo en relación a eso de lo que estoy hablando. Las preguntas que tengo como artista son las mismas que manifiesto cuando produzco un texto. Está claro que no me considero un crítico de arte pero escribir sobre lo que sucede en mi entorno también me sirve como parte de la investigación de lo que hago, de la investigación de mi obra.
Selected Biographical Information
Education / Training
- 2001-2005: Lic. en Artes Visuales, orientación en Escultura – IUNA. Buenos Aires, Argentina.
- 2000-2001: Caracterizador Escénico – Instituto del Teatro Colón. Buenos Aires, Argentina.
- 1995-2000: Dibujante Publicitario, Técnico en Publicidad – E.T. 15 “Maipú”. Buenos Aires, Argentina.
Prizes / Fellowships
- 2013: Premio estímulo de la Fundación Castagnino para artistas emergentes del XVII Salón Nacional de Rosario Castagnino-MACRO.
- 2013: Mención especial II Premio Lucio Fontana, Buenos Aires, Argentina.
- 2012-2013: Premio Itaú Cultural, Buenos Aires, Argentina.
- 2012: Salón Nacional de Pintura del Banco Nación en la Casa del Bicentenario.
- 2012: Segundo premio del 101º Salón Nacional de Artes Visuales en Nuevos soportes e instalaciones en el Palais de Glace.
- 2010-2011: Premio del Centro Cultural de España en BA de artistas jóvenes en el Palais de Glace y Centro Cultural Parque España Rosario.
Solo Exhibitions
- 2012: “Suite en 3 actos: presentación, auge y caída”, La Ira de Dios, Buenos Aires, Argentina.
- 2012: “La Consulta”, Nora Fisch Arte Contemporáneo, Buenos Aires, Argentina.
- 2011: “Collages y colaboraciones”, Barraca Vorticista, Buenos Aires, Argentina.
- 2009: “El Techo”, Centro Cultural de España en BA, Buenos Aires, Argentina.
- 2009: “El Capricho”, ThisIsNotAGallery, Buenos Aires, Argentina.
- 2008: “Sin título (publicidad exterior)”, Intervención urbana, Buenos Aires, Argentina.
- 2008: “Habitación”, Humboldt 1564, Palermo, Buenos Aires, Argentina.
Group Exhibitions
- 2013: “Riña de gallos”, Rusia Galería, Tucumán, Argentina.
- 2013: “Espacios parasitados”, Espacio de Arte Universidad Católica Argentina, Buenos Aires, Argentina.
- 2012: “Fuen7e”, Lordi Arte Contemporáneo, Buenos Aires, Argentina.
- 2011: “Habitat”, Nora Fisch Arte Contemporáneo, Buenos Aires, Argentina.
- 2010: “Exit/Salida 3ª ed.”, Barraca Vorticista, Buenos Aires, Argentina.
- 2009: “Diálogo”, Fondo Nacional de las Artes, Buenos Aires. Festival Visual Brasil, Barcelona, Spain.
- 2009: “Coronal”, Braga Menéndez Arte Contemporáneo, Buenos Aires, Argentina.
- 2009: “Holyhome”, See you at home, Artist studio, London, UK.
- 2008: “La forma absurda”, La Munich contemporánea, Dir. Gral. de Museos de la Ciudad, Buenos Aires, Argentina.
- 2008: “Poética intimista en un espacio que no le corresponde”, WarClub Appetite, Buenos Aires, Argentina.
Publications
- SAUNA revista de arte. Editor y co-fundador. Buenos Aires, Argentina. Agosto 2010/2013. www.revistasauna.com.ar
- Premio CCEBA de arte joven argentino. Buenos Aires, Argentina. 1era ed. Octubre 2010. www.cceba.org.ar RAMONA 100.
- Poéticas. Buenos Aires, Argentina. Mayo 2010. www.ramona.org.ar LATE (los artistas también escriben), Guido Ignatti. Buenos Aires, Argentina. Mayo 2009. www.proyecto-late.blogspot.com
Links
- Guido Ignatti, “Parquet #1 y #2”, 2013, Series: Parquet, Sectioned rubber tiles, 55 x55 cm each. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Pintura”, 2013, Wood frames for linen cloths and fluorescent illumination, 100 x 200 cm. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Pintura y tapiado para una ventana inexistente”, 2012, Wood, paint and fluorescent lighting + projection of slides, 110 x 150 x 12cm + projection 70 x 20 cm. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Puesta o Caída”, 2012, Series: Capturas en la rutina de alguien, Wooden blinds, light projection, paper and mirror, 150 x 120 x 50 cm. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Simulación (farsa)”, 2012, Pintura acrílica sobre capitoné encontrado de baja calidad, 34 x 142 cm. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Caja ciega”, 2010, Wood packaging intervened with wood trim and paint, 90 x 74 x 33cm, Photo credit: Courtesy of the artist.
- Guido Ignatti, “Suite en 3 actos: presentación, auge y caída”, 2012, Carteles de vía pública intervenidos con afiches publicitarios invertidos, Variable dimensions. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Espacio #1 y #2”, 2012, Series: La Consulta, acrílico sobre madera velado con vidrio martelé, 50 x 70 cm each. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Sin título (Moldura Lozza)”, 2010, Durlock, moldings and wood on the floor, 80 x 40 cm. Photo credit: Courtesy of the artist.
- Guido Ignatti, “Impresión”, 2010, Wood, paper, and projection with slides, 120 x 240cm + 230 cm distance between projector and wall. Photo credit: Courtesy of the artist.
- Guido Ignatti, “El techo”, 2009, Paper on the wall and expanded polystyrene moldings on the ceilings of two public bathrooms, Variable dimensions. CCEBA, Photo credit: Courtesy of the artist.
- Guido Ignatti, “El Capricho”, 2009, Painting and lighting in a shed + Video Color 3 ’08”, Variable dimensions. ThisIsNotAGallery, Photo credit: Courtesy of the artist.
- Guido Ignatti, “Diálogo”, 2009, Paint on graffiti + Video Color 2’ 46’’, Unspecified dimensions, Moreno esq. Bolivar, Capital Federal, Buenos Aires, Photo credit: Courtesy of the artist.
- Guido Ignatti, “La forma absurda”, 2008, Vinyl paint on vinyl canvas, cement and vines, 105 x 405 x 85 cm, Munich DGM, Photo credit: Courtesy of the artist
- Guido Ignatti, “Pared y ventana #1, #2 y #3”, 2013, Series: Pared y ventana, Collage veiled painted ribbed glass, 83 x6 2cm each. Photo credit: Courtesy of the artist.
Translated from Spanish
I develop my work through photography, collage, objects and installation, and it comprises an analysis of concepts of inequality, architecture, and spectacle in Chile in the last twenty years—Chile after the dictatorship. In this sense, it presumes an aesthetic reflection of the consequences of the “neoliberal revolution,” imposed on Chile during the ‘80s, and its projection on the social and cultural field since then until this day. In the series Spike Drawings, 2010-2013, I make a type of drawing on the wall with simple geometric shapes such as squares, rhomboids, etc., which is constructed with a metal material that is used as protection on the walls of middle and high class houses in Santiago de Chile. The wall protections are very sharp and comply with the fight against crime and the protection to private property. These works describe the segregation and social divisions, confinement and limitations, in a very simple way, using basic but eloquent shapes such as the square, which is the simplest act of delimitation in geometry. These works also refer to a tradition in modern art linked to Constructivism, geometric abstract art and minimalism. In this sense, it is a series that joins an extreme formalism of minimal shapes, with social content.
Mi trabajo desarrollado en fotografía, collage, objeto e instalaciones, comprende una reflexión en torno a los conceptos de trabajo, desigualdad, arquitectura y espectaculo en el Chile de los últimos 20 años; en el Chile de la postdictadura. En este sentido, supone una reflexión estética sobre las consecuencias de la “revolución neoliberal” implantada en Chile durante los años 80´s y su proyección en el campo social y cultural desde entonces hasta ahora. En la serie “Spike drawings” (2010-2013) realizo un tipo de dibujo sobre la pared con formas geométricas simples -cuadrados, rombos, etc- que están construidos con un material de fierro que se usa como protección en los muros de las casas de gente clase media y media alta en Santiago de Chile. Las protecciones de muro son muy filosas y remiten a la lucha contra la delincuencia así como a la protección de la propiedad privada. Estos trabajos hablan de segregación y división social, de encierro y de límites, de una manera muy simple, usando formas muy básicas y elocuentes como el cuadrado que es el acto geométrico más simple de delimitación. Estos trabajos, hacen referencia también, a cierta tradición del arte moderno vinculada al constructivismo, al arte abstracto geométrico y al minimalismo. En este sentido, es una serie que vincula un formalismo extremo, de formas mínimas, con un contenido social.
Selected Biographical Information
Education / Training
- 1998: BFA, University of Chile, Santiago, Chile.
Prizes / Fellowships
- 2007: Beca Guggenheim, John Simon Guggenheim Memorial Foundation, New York, USA.
Solo Exhibitions
- 2014: “Proyecto Lanz”, Flora Ars Natura, Bogotá, Colombia.
- 2013: “Progreso”, Museo de Arte Contemporáneo de Santiago MAC, Santiago, Chile.
- 2012: “Postdictadura”, Bienal de fotografía de Lima, Centro de la Imagen, Lima, Peru.
- 2012: “Ultramar Sur”, Paco das Artes, Sao Paulo, Brazil.
- 2011: “Máxima tensión”, Galería Baró, Sao Paulo, Brazil.
- 2008: “Santiago dérive”, Stiftung DKM, Duisburg, Germany.
Group Exhibitions
- 2014: “Beyond the Supersquare”, The Bronx Museum of the Arts, New York, USA.
- 2014: “Slow Future”, Centre for Contemporary Art Ujazdowski Castle, Warsaw, Poland.
- 2013: “Emergency Pavilion: Rebuilding Utopia”, 55th International Art Exhibition la Biennale di Venezia, Italy.
- 2011: “Terrible Beauty-Art, Crisis, Change & The Office of Non-Compliance”, Dublin Contemporary 2011, Dublin, Ireland.
- 2011: XI Bienal de Curitiba, Museo Oscar Niemayer, Curitiba, Brazil.
- 2011: “Now: obras La Colección Jumex”, Centro Cultural Hospicio de la Cabaña, Guadalajara, Mexico.
- 2009: X Bienal de la Habana, La Habana, Cuba.
Publications
- 2013: “Progreso/Progress”, libro publicado por el Museo de Arte Contemporáneo de Santiago. Textos de Christian Viveros-Fauné & Alma Ruiz.
- 2009: “Proyecto de arquitecturas revestidas para la ciudad de Santiago”, libro publicado por Ediciones UDP, Santiago. Textos de Guillermo Machuca & Marco Scotini.
- 2008: “Santiago Derive”, catálogo publicado por la Fundación DKM, Duisburg, Germany.
- 2006: “Objetos en Tránsito (Dario Escobar & Patrick Hamilton)”, catálogo publicado por la Fundación Gasco en Santiago. Textos de Victor Zamudio-Taylor & Isolde Brielmaier.
- 2004: “Patrick Hamilton en la 26 Bienal de Sao Paulo”, libro publicado por el Ministerio de Relaciones Exteriores de Chile. Texto de Guillermo Machuca.
Collections
- Fundación / Colección Jumex, Mexico City, Mexico.
- El Museo del Barrio, New York, USA.
- Museo DKM, Duisburg, Germany.
- Izolyatsia Foundation, Donetsk, Ukraine.
- Museum of Latin American Art (MOLAA), Long Beach, CA, USA.
- Sayago & Pardon Collection, Irvine, CA, USA.
- Patrick Hamilton, “Intersección”, 2013, Steel spike wall protections, 280 x 1130 x 7 cm. Museum of Contemporary Art, Santiago, Chile. Photo credit: Museum of Contemporary Art, Santiago.
- Patrick Hamilton, Detail of “Intersección”, 2013, Steel spike wall protections, 280 x 1130 x 7 cm. Museum of Contemporary Art, Santiago, Chile. Photo credit: Museum of Contemporary Art, Santiago.
- Patrick Hamilton, “Patria y Libertad”, 2012, Steel spike wall protections, 150 x 220 cm. Museum of Contemporary Art, Santiago, Chile.
- Patrick Hamilton, “Copper Diamond”, 2011, Steel spike wall protections plated in copper, 140 x 140 cm. Museum of Contemporary Art, Santiago, Chile. Photo credit: Baró Gallery, São Paulo.
- Patrick Hamilton, “Square Composition”, 2011, Steel spike wall protections, 210 x 650 x 7 cm. Dublin Contemporary 2011. Photo credit: Dublin Contemporary and Renato Ghiazza.
- Patrick Hamilton, “Handsaws Construction”, 2013, 64 copper handsaws, 3.8 m diameter, Site-specific project. Location: Emergency Pavilion: Rebuilding Utopia, 55th Venice Biennial, Italia. Photo credit: Baró Gallery, Sao Paulo.
- Patrick Hamilton, “Chuzo”, 2012, Steel, enamel, 161 x 40 x 3 cm each, Site-specific project. Location: Museum of Contemporary Art, Santiago. Photo credit: Baró Gallery, Sao Paulo.
- Patrick Hamilton, “Machetes construction”, 2010, 120 steel machetes, installation, 5 m, Site-specific project. Photo credit: Baró Gallery, Sao Paulo.
Translated from Spanish
Extract from inteview by Pablo León de la Barra with Jaime Gili (…) To be honest, I work a lot from painting; from the two-dimensional. Playing with planes is perhaps the only way that I have to be able to understand the three dimensional space. I admire how my mother, a wonderful seamstress, perfectly understands how a piece of fabric with a specific form can wrap around, drop on or cover a body. That is a mastery of the three-dimensional that I don’t possess. (…) There is no plan or specific project. I sense how I will finish a painting but I don’t plan it out. I am more about testing directly than planning and trying to duplicate on the canvas. Everything happens so fast in a painting. One single painting is made of hundreds of quickly executed small projects. (…) The same as with some interventions, I emphasize architectural elements and people pay more attention. The same happens with painting: when I apply the paint on a space in a certain way, I am making the color on the fabric, the space and profoundness that it could have, become more evident.
Extraído de una entrevista a Jaime Gili por Pablo León de la Barra (…) La verdad es que trabajo muy desde la pintura, desde las dos dimensiones. Jugar con los planos es quizá la única manera que tengo de entender el espacio tridimensional. Admiro como mi madre, maravillosa costurera, entiende perfectamente como un trozo de tela con una forma determinada puede envolver, caer o cubrir un cuerpo. Esa es una maestría de lo tridimensional a la que no llego. (…) No hay un plan, un proyecto específico. Intuyo como va a terminar la pintura pero no la planeo. Soy más de probar directamente que de planear e intentar repetir en la tela. En una pintura todo sucede muy rápido. Una pintura se compone de cientos de pequeños proyectos rápidamente ejecutados. (…) Al igual que con algunas intervenciones subrayo elementos de arquitectura y la gente se fija más en ella, con la pintura pasa lo mismo: al colocar la pintura de cierta manera en un espacio, estoy haciendo que se haga más evidente en la tela el color, la cuestión espacial y la profundidad que pueda tener.
Selected Biographical Information
Education / Training
- Ph.D., Universidad de BARCELONA. Thesis finished 2001 [info Español]: ‘Repetition and Seriality from 1960. From recurrence to multiplication’ (doctorat’05 special prize).
- 1996 – 1998: M.A., Royal College of art -Painting- London, UK.
- 1997: Erasmus, Hochschule der Kunste, Berlin, Germany.
- 1990-1995: B.F.A., Degree. Facultad de Bellas Artes, Universidad de Barcelona, Spain.
- 1994: Erasmus, École Nationale superièure des Beaux-Arts, Paris, France.
- 1989: Prodiseño, Caracas, Venezuela.
Prizes / Fellowships
- 2010: Medalla al mérito Civil alcaldía de Sucre-Caracas.
- 2009: Art all Around, Maine Center for Creativity, Portland, Maine.
Solo Exhibitions
- 2014: “Title tbc”, Alejandra von Hartz, Miami, USA.
- 2014: Oficina #1, Periférico Caracas, Venezuela.
- 2013: “Droits de Succession”, Oficina#1, Caracas, Venezuela.
- 2011: “The Lakes”, Riflemaker, London, UK. (catalogue)
- 2010: “Jaime Gili Afuera”, Periférico Caracas, Caracas, Venezuela.
- 2009: “Everything is Borrowed”, Alejandra von Hartz Gallery, Miami, FL, USA.
- 2009: “COMMA04”, Bloomberg SPACE, London, UK.
- 2009: “Bill at Pittier”, Kunsthalle Winterthur, Winterthur.
- 2008: “Superestrellas”, Riflemaker, London, UK.
- 2007: “Jaime Gili – Superstars”, Buia Gallery, NY, USA.
Group Exhibitions
- 2013: “Horizontal”, La Central, Bogotá, Colombia.
- 2013: “Ex-Culturas”, Periférico Caracas, (Curated by Félix Suazo), Caracas, Venezuela.
- 2012: “Red, White, and Blue – Pop, Punk, Politics, Place”, Chelsea Space, London, UK.
- 2010: “Newspeak’ Saatchi Gallery”, (catalogue) London, UK.
- 2010: “Demons Yarns and Tales”, James Cohan Gallery, NY, USA.
- 2009: “Coalesce Happenstance”, Smart, Amsterdam.
- 2008: “John Moores 25”, Liverpool Biennial, Walker Art Gallery, Liverpool, UK.
- 2008: “XI salón jóvenes con FIA”, Curated by Lorena González. Corpbanca, Caracas, Venezuela.
- 2008: “The expanded painting show”, (Curated by Paco Barragán). Space Other, Boston, UK.
- 2007: “6a bienal do mercosul’ – ‘tres fronteiras”, (Curated by Gabriel Pérez-Barreiro and Ticio Escobar) Porto Alegre (BR) (catalogue).
- 2007: “jump cuts – coleccion banco mercantil”, Cifo Miami(catalogue), USA.
Publications
- Apóstol, Alexander y González, Lorena. “El arte venezolano en las instituciones de fin de siglo” El País, 14 Marzo 2013, Madrid.
- Guidobono, Rafaela (Ed) The Detour Book, moleskine, Milano 2012, ISBN 978-8866130062
- León de la Barra, Pablo, Martínez and Trees Editors. Jaime Gili Repetition. Booksfromthefuture, London 2012. ISBN 978-0-9573509-0-8
- Bracewell, Michael and Smith, Donald. Red White and Blue. Pop Punk Politics Place Chelsea Space, London 2012 ISBN 978-1-906203-66-5
- Dillon Tamsin, Ed. The Roundel. 100 Artists Remake a London Icon. Transport for London, London 2012. ISBN 978-1-908970-01-5
- Mann, Robin et Al. The Lakes Riflemaker Books, London, 2011. ISBN 978-0-9563571-7-5
- Day, Elizabeth, Et al. Friendship of the Peoples. Simon Oldfield Gallery. London, 2011. ISBN 978-0-9568329-2-4
- González, Lorena. « Jaime Gili » El Nacional, Martes 15 Febrero 2011, Caracas, Venezuela.
- Suazo, Félix. Et al.Histórica. Memoria y Territorio. Colección Mercantil. Banco Mercantil, Caracas 2010. ISBN 978-980-6699-14-4
- VVAA. Newspeak: British Art Now. Saatchi Gallery, London. 2009 ISBN 978-1-861543141
- Muellen Marianne, Et al. Concrete Geometries, The Relational in Architecture. Architectural Association, London 2011.
- Smith, Roberta. «To a Tapestry’s Warp and Weft, Add Vision and Craft». New York Times. January 25, 2010.
- Susanna Haddon et al. EAST 17, Norwich Gallery. NSAD. Norwich, ISBN 1-872482-86-4, 2009.
Collections
- Colección Cisneros, Caracas, Venezuela.
- Cifo, Miami, USA.
- Saatchi Gallery, London, UK.
- University of Essex Collection of Latin-American Art, (UECLAA) Essex, UK.
- Universitat de Barcelona, Barcelona, Spain.
- L’Oreal. Madrid, Spain.
- Banco Mercantil, Caracas, Venezuela.
- Sayago & Pardon, USA.
- Jaime Gili, “Art all Around”, 2009 ongoing, Design for 16 industrial storage tanks, Industrial paint and materials, 26,000 m2, South Portland, Maine. Photo credit: Georgia Flanagan.
- Jaime Gili, “Canónico y Contemporáneo”, 2011, Site-specific mural for commercial display of Colonial Art in Caracas, Variable dimensions. Caracas, Venezuela. Photo credit: Don Manuel Sardá.
- Jaime Gili, “Canónico y Contemporáneo”, 2011, Site-specific mural for commercial display of Colonial Art in Caracas, Variable dimensions. Caracas, Venezuela. Photo credit: Don Manuel Sardá.
- Jaime Gili, “Diamante de las Semillitas”, 2010, Oil on stainless steel Variable dimensions. Barrio José Félix Ribas, Petare, Caracas,Venezuela. Photo credit: Manuel Sardá.
- Jaime Gili, “A198 Godoy”, 2013, Series: A, Acrylic on linen, 45 x 35 cm. Photo credit: Courtesy of the artist.
- Jaime Gili, “A222 La Britten”, 2013, Series: A, Acrylic on linen, 45 x 35 cm. Photo credit: Courtesy of the artist.
- Jaime Gili, “A230 La Mecánica”, 2013, Series: A A (Ponti Reverón Vegas), Acrílico sobre jute, 140 x 200 cm. Photo credit: Courtesy of the artist.
- Jaime Gili, “VW Golf MK1 Cabrío”, In progress, Automotive paint on automobile, Varied Dimensions, Europe. Photo credit: Courtesy of the artist.
- Jaime Gili, “Mashrabiya (Comma 04) at Bloomber Space”, 2008, Vinyl on glass and wall, eight stories, Varied dimensions, Bloomberg Space London (destroyed), Photo credit: Courtesy of the artist.
- Jaime Gili, “Mashrabiya (Comma 04) at Bloomber Space”, 2008, Vinyl on glass and wall, eight stories, Varied dimensions, Bloomberg Space London (destroyed), Photo credit: Courtesy of the artist.
- Jaime Gili, “A238 La Macuto-Cannes”, 2013, Series: A (Ponti Reverón Vegas).
- Jaime Gili, “M12 ANA”, 2009, Acrylic on wall, aprox 5 x 5 m. Photo credit: Courtesy of the artist.
- Jaime Gili, “Sail”, 2012, Design for Type 1 star ex-olympic sail, 5 m high, Portsmouth. Photo credit: Vestalia Chilton.
- Jaime Gili, “Salve”, 2009, Enamel on wooden boat, aprox 4.5 m x 2 m x 1.5 m, Manzanillo, Nueva Esparta, Venezuela, Photo credit: Courtesy of the artist.
- Jaime Gili, “Lucía”, 2006, Series: A, Acrylic on canvas, 268 x 230 cm. Photo credit: Courtesy of the artist.
Translated from Spanish
My practice is based on an articulate recursion on the margins of homage, imitation, and critique. As a sort of mirage, I use different reproduction strategies which allow me to dismantle the relationships between form and content, as well as to manifest the virtues and lacks from my references.
My work has been engaged in questioning the limits of instrumental values through the use of everyday materials in the creation of sculptures, objects, and installation. More recently, I have explored photography and document as ways of recording and due to their possibilities of re-signification.
Mi práctica se vale de una elocuente recursividad que se encuentra en los márgenes del homenaje, la imitación y la crítica. Como una suerte de espejismo, utilizo distintas estrategias de reproducción que me permiten desmantelar las relaciones entre forma y contenido, así como manifestar las virtudes y carencias de mis referencias.
Mi trabajo se ha ocupado de cuestionar los límites de los valores instrumentales a través del uso de materiales ordinarios para la creación de esculturas, objetos e instalación. Recientemente, he explorado la fotografía y el documento como formas de registro y sus posibilidades de re-significación.
Selected Biographical Information
Education / Training
- 1993-98: Architecture School, ITESO University, Guadalajara, Mexico
- 1993: Sculpture, Fine arts Academy of San Miguel de Allende, Mexico
Prizes / Fellowships
- 2013: Hotel El Ganzo, San Jose del Cabo, Baja California Sur, México.
- 2003-2004: Residency at Kunstwerke, Berlin, Germany
- 2004: Residency at Ecole cantonal d’art du Valais, Switzerland
- 2001: Residency at Camden Arts Centre, London, UK, supported by the Andy Warhol Foundation
- 2000-2001: Recipient of the Mexican Arts Council Grant for young artists FONCA
Solo Exhibitions
- 2013: “Das Muss der Ort Sein”, Figge Von Rossen Gallery, Cologne, Germany
- 2013: “Shadow as a rumour”, Max Wigram Gallery, London, UK
- 2012: “The Play Game Of The Possible”, Travesía Cuatro, Madrid, Spain
- 2012: “Praise To The Shadow”, MAZ, Zapopan Museum of Art, Guadalajara, Mexico
- 2011: “Only The Shadow Knows”, Galleria Gentili, Prato, Italy
Group Exhibitions
- 2013: “La persistencia de la Geometría”, MUAC, México City
- 2013: “Bucareli Act”, Bucareli street 154, México City
- 2013: “Salón ACME”, Mexico City
- 2013: “Now here is also Nowhere: Part II”, Stroum Gallery, University os Washington, Seattle, USA
- 2012: “Footnotes on Candida Hofer”, OMR Gallery, Mexico City
Publications
- 2012: Elsa Fernández-Santos, This artist dreams of building materials, El País, 8th December
- 2012: David Batty, At Art Basel Miami Beach, the stars line up to be seen-and be shocked, The Observer, 8th of December 2012
- 2013: Paulina Ascencio, Interview with Jose Dávila, Taxi Art Magazine, February http://blog.taxiartmagazine.com/2012/02/interview-with-jose-davila/
- 2008: Jose Dávila, review, Flash Art online, flashartonline.com
- Pierre Alexandre de Looz, Master Riff. Jose Dávila’s Architectural Winks, Tokion
- 2004: Paola Santoscov, Jose Dávila. Revista Código 06140 No. 22, Mexico, p. 42
Collections
- MALBA, Buenos Aires Museum of Latin American Art, Argentina
- MUAC, Museum of Contemporary Art Mexico City, Mexico
- Museo Amparo, Puebla, Mexico
- Fundación Colección JUMEX, Mexico City, Mexico
- MUDAM Museum of modern art, Luxembourg, Luxembourg
Links
- José Dávila, “The bee pour honey on the elephant skull”, 2013, Cardboard boxes, gold leaf, 11 x 34.5 x 22.5 cm / 29 x 54.5 x 43.5 cm. Image courtesy of the artist.
- José Dávila, “The bee pour honey on the elephant skull”, 2013, Cardboard boxes, gold leaf, 11 x 34.5 x 22.5 cm / 29 x 54.5 x 43.5 cm. Image courtesy of the artist.
- José Dávila, “The bee pour honey on the elephant skull”, 2013, Cardboard boxes, gold leaf, 11 x 34.5 x 22.5 cm / 29 x 54.5 x 43.5 cm. Image courtesy of the artist.
- José Dávila, “Continuous Space”, 2010, Durock sheets and plaster, Variable dimensions, Installation view. Image courtesy of the artist.
- José Dávila, “Flat nucleus”, 2007, Acrylic paint on wall, Variable dimensions. Image courtesy of the artist.
- José Dávila, “Giant Beetle”, 2009, Wood and enamel paint, Variable dimensions. Image courtesy of the artist.
- José Dávila, “Homage to the square”, 2011, Adhesive film, glass and wood shelf, 100 x 100 x 20 cm. Image courtesy of the artist.
- José Dávila, “Imbalance of Perfection”, 2010, Aluminum frames, 240 x 240 x 240 cm, installation view. Image courtesy of the artist.
- José Dávila, “Open System”, 2010, Wood, plywood and water paint, Installation of 5 pieces. Image courtesy of the artist.
- José Dávila, “Promise of a better world”, 2010, Bricks, white neon lights, Set 1: 150 x 96 x 180 cm / Set 2: 132 x 125 x 240 cm. Image courtesy of the artist.
- José Dávila, “Shadow over line”, 2009, Glass, wood shelf and adhesive vinyl, Variable dimensions. Image courtesy of the artist.
- José Dávila, “Topologies of light III”, 2013, Inkjet print on photobase paper, 250 x 500 cm. Image courtesy of the artist.
- José Dávila, “Untitled”, 2008, Intervened container, 260 x 242 x 1300 cm. Image courtesy of the artist.
- José Dávila, “Untitled”, 2012, Steel frames, 180 x 180 x 5 cm. Image courtesy of the artist.
- José Dávila, “Vertical horizon”, 2012, Wood lumbers and metal bases, 407 x 175 x 20 cm. Image courtesy of the artist.
My work encompasses site-specific installations, sculpture and video to works on paper. In these works, issues of urbanization, transformation, regeneration, escape, collapse and nomadic existence have been predominant. While the work in the drawing studio serves as a means for a more intimate exploration of these issues, the foundation of my larger scale work lies in the alteration of found and recycled materials and environmental debris, often on site (including such source materials as books and printed matter, empty tins, old tires, bicycles, boat parts and building construction fragments) that are often altered to create sculptural objects and architectural spaces. These works take the visual form of functional objects while stripping them of their productivity to address notions of labor and utility, forcing an examination of our understanding of culturally specific forms while simultaneously exploiting and adapting their particular codes and associations.
Traducido del inglés
Mi obra abarca instalaciones de sitio específico, escultura y video hasta obra en papel. En estas obras, temas de urbanización, transformación, regeneración, escape, derrumbe y existencia nómada han sido predominantes. Mientras que el trabajo en el estudio de dibujo sirve como una forma más íntima de exploración de estas ideas, la base de mi obra a gran escala está en la alteración de materiales encontrados y reciclados y desechos ambientales, a menudo in situ (incluyendo fuentes como libros y material impreso, latas vacías, llantas viejas, bicicletas, partes de barco y fragmentos de construcción), que son a menudo modificados para crear objetos esculturales y espacios arquitectónicos. Estas obras toman la forma visual de objetos funcionales mientras que los despojan de su productividad para abordar nociones de labor y utilidad, forzando un análisis de nuestro entendimiento de formas culturalmente específicas, mientras que explotamos y adaptamos sus códigos y asociaciones particulares.
Selected Biographical Information
Education / Training
- 2000: Bard College, BA.
- Skowhegan School of Painting and Sculpture.
Prizes / Fellowships
- 2012: MACRO RESIDENCY, Rome.
- 2011: New York Foundation for the Arts (NYFA).
- 2010: ART OMI Residency, OMI, New York, USA.
- 2009-10: Marie Walsh Sharpe Foundation ‘space program’, New York, USA.
- 2008: ART MATTERS foundation, New York, USA.
- 2009: Residencia La Curtiduria, Oaxaca, Mexico.
- 2008: Residencia Kiosko, Santa Cruz, Bolivia.
- 2008: Sculpture Space, Utica, NY, USA.
- 2007: Mención Honorífica, IX Bienal De Cuenca, Ecuador.
- 2007: Skowhegan School of Painting and Sculpture, Maine, USA.
- 2005-6: Foundation for Contemporary Arts, New York, USA.
- 2003: Vermont Studio Art Center, Vermont Beca.
Solo Exhibitions
- 2013: “Cuts, Burns, Punctures”, Drawing Center, New York, USA.
- 2013: “Quoin”, Eleven Gallery, New York, USA.
- 2012: “Parquette”, MACRO (museum of contemporary art Rome), Italy.
- 2010: “Aún Sin Titulo I”, Galería Revolver, Lima, Perú.
- 2010: “Aún Sin Titulo II”, Espacio Ex-Culpable, Lima, Perú.
- 2010: “Maquette For Landscape”, Galería Federica Schiavo, Roma, Italy.
- 2010: “Un Muro de Tochos”, Galería Arróniz Contemporáneo, Mexico, DF, Mexico.
- 2009: “Ishmael Randall Weeks”, Galería Eleven Rivington, New York, USA.
- 2008: “Refugio”, Galería Lucia De La Puente, Lima, Perú.
- 2008: “Experimentos, Camuflajes y Bunkers”, Galería Kiosko, Santa Cruz, Bolivia.
Group Exhibitions
- 2013: “Migrating Identities”, Yerba Buena Center for the Arts, San Francisco, California (Curator: Betti-Sue Hertz).
- 2013: “Panorámica”, Museo Palacio de Bellas Artes, México DF, Mexico.
- 2013: “Arte Al Paso. Colección Contemporánea del Museo de Arte de Lima”, Museo Banco de la Republica, Bogotá, Colombia.
- 2012: “The Camino Real Arcades”, AMIL space, Lima (Curator: Pablo Leon de la Barra).
- 2012:“The Peripatetic School: Itinerant drawing from Latin America”, Banco De la Republica, Bogotá, Colombia. (Curator: Tanya Barson).
- 2012: “S-Files Bienal”, Museo del Barrio, New York, USA. (Curators: Elvis Fuentes, Trinidad Carillo).
- 2010: “Greater New York”, MOMAPS1, New York, USA. (Curators: Klaus Biesenbach, Connie Butler, Neville Wakefield).
- 2010: “Planet of Slums”, Third Screening, NYC (Curadores: Omar Lopez-Chahoud & LaToya Ruby Frazier).
- 2010: “El Comienzo del Fin”, Patricia Ready Galeria, Santiago, Chile (Curator: Revolver Galeria).
- 2010: “Lush Life”, Collete Blanchard Gallery, NYC (Curators: Omar Lopez-Chahoudy Franklyn Evans).
- 2010: “Does the Angle Between Two walls have a happy Ending?”, Galeria Federica Schiavo, Rome, Italy (Curator: Ishmael Randall Weeks).
Publications
- Tanya Barson, Isobel Whitelegg, Pablo Leon de la Barra & Moacir Dos Anjos, “The Peripatetic School: Itinerant Drawing from Latin America”, Ridinghouse, 2011.
- Sigismond de Vajay & André Baldinger, “Of Bridges and Borders”, JRP-Ringier.
- Toit Du Monde & KBB, EBS, Editoriale Bortolazzi Stei srl, Pg 253-67.
- Cynthia Hahn, Amy Levin “Objects of Devotion and Desire” Hunter College Press, Pg 16, 66-67, 2011.
- Christopher Von Ginhoven, “A Vailed Intimacy”, Catalogue for “Bruma” at 20 Hoxton square Gallery, London. 20 Hoston Square and Revolver Gallery, 2011.
- Klaus Biesenbach, Connie Butler, Neville Wakefield, “Greater New York 2010”, MoMa PS1, pg. 112-13 & 162-63, 2010.
- David McFadden, “Slash: Paper Under the Knife”, Museum of Arts and Design & 5 Continents Editions, pg. 184-87, 2009.
- Lauren Cornell, Massimiliano Gioni, Laura Hoptman, “Younger Than Jesus: Artist Directory” The New Museum and Phaidon Press, pg. 507, 2009.
- X Bienal de la Habana, “Integración y Resistencia en la era Global”, Centro de Arte Contemporaneo Wilfredo Lam, La Havana, Cuba, pg. 454-55, 2009.
- Armando Williams, “Visiones del Arte Contemporaneo en el Perú” Galeria Lucia de la Puente, Lima, Perú, 2008.
- Miguel Zegarra-Jorge Villacorta, “La Construcción del Lugar Común” Museo De Arte Contemporaneo, Lima, Perú, 2008.
- IX Bienal de Cuenca, “Espacios, Tiempos Identitarios” Bienal de Cuenca, Ecuador, pg. 64-67 2007.
- Rodrigo Quijano, ‘Llámenme Ishmael: Notas sobre Balances y Tensiones en la Obra de Randall Weeks’, Catalogue for Estructuras, Simulacros, ICPNA, Lima, Perú, 2006.
- Jorge Villacorta, Augusto Del Valle, Miguel López, Sharon Lerner, Paulo Dam, Luis Alvarado, “Post-Illusiones. Nuevas Visiones, Arte Critico en Lima (1980-2006)” Fundación Wiese, pg. 113, 2006.
Collections
- Lima Art Museum (MALI).
- JUMEX Collection.
- Middlesbrough Institute of Modern Art (MIMA).
- Museo d’Arte Contemporaneo, Roma (MACRO).
- Madeira Corporate Services Collection, Portugal (curator Adriano Pedrosa).
- Albright-Knox Gallery.
- Deutsche Bank Collection (Liz Christensen, curator).
- Ishmael Randall Weeks, “Mapping”, 2012, Parquet from all around the world, glue and iron, 130 x 310 x 120 cm. Photo credit: Giorgio Benni.
- Ishmael Randall Weeks, “IBeam”, 2013, Brick dust, debris and resin, 180 x 25 x 25 cm. Photo credit: Camila Rodrigo.
- Ishmael Randall Weeks, “12 Dias”, 2013, 12 days of newspapers from Lima, Cola, 210 x 10 x 5 cm. Photo credit: Camila Rodrigo.
- Ishmael Randall Weeks, “Wall”, 2012, Bricks, cement and iron, 185 x 100 x 58 cm. Photo credit: Giorgio Benni.
- Ishmael Randall Weeks, “Trepanacion”, 2013, Rubber from a tree and bronze, 80 x 50 x 50 cm. Photo credit: Camila Rodrigo.
- Ishmael Randall Weeks, “Quoin”, 2013, Cut photo transfers, polished newspaper and wood table, Variable dimensions.
- Ishmael Randall Weeks, “Trinita’DeiMonti”, 2012, Photo transfers on cardboard and cut aluminum, Variable dimensions, Photo credit: Giorgio Benni.
- Ishmael Randall Weeks, “Mercado”, 2008, Mirrors and wood, Variable dimensions. Photo credit: Courtesy of the artist.
- Ishmael Randall Weeks, “Frame 1”, 2012, Glass and frames from the 50s, 50 x 42 x 3 0cm. Photo credit: Giorgio Benni.
- Ishmael Randall Weeks, “EUR”, 2012, Photo collage, 140 x 31 x 8 cm. Photo credit: Photo Giorgio Benni.
- Ishmael Randall Weeks, “Landscape Intersection”, 2010, Carved books, wood and iron, 180 x 300 x 300 cm. Photo credit: Giorgio Benni.
- Ishmael Randall Weeks, “Landscape Carving”, 2008, Carved architectural plans, 120 x 90 x 140 cm. Photo credit: John Taylor.
- Ishmael Randall Weeks, “Lucio Costa”, 2007, Collage, 35 x 35 cm.
- Ishmael Randall Weeks, “Le Corbusier 2”, 2007, Collage, 45 x 35 cm.
- Ishmael Randall Weeks, “Netting”, 2007, Camara de Llanta tallada, Variable dimensions.
Translated from Spanish
My work is supported by the fields of architecture and above all the creative process. The proposal is generated from the analysis of the environment and it is a reaction to it. It can be understood as a phenomenological exercise, from which reality is understood through the perception of phenomena and the essence of things. The works are self-referential, they speak about themselves. Perception, abstraction, intuition, light, time, change, place, the material and the universal, are some of the recurring themes of my work.
Mi trabajo se apoya en los terrenos de la arquitectura, y sobre todo en el del proceso creativo. La propuesta se genera a partir del análisis del entorno y es una respuesta a él. Se puede entender como un ejercicio fenomenológico, con el cual la realidad es conocida a través de la percepción de los fenómenos y las esencias de las cosas. Las obras son autorreferentes, hablan de sí mismas. La percepción, la abstracción, la intuición, la luz, el tiempo, los cambios, el lugar, lo material y lo universal son algunos de los temas recurrentes dentro de mi trabajo.
Selected Biographical Information
Education / Training
- Licenciatura en Arquitectura, Instituto Tecnológico y de Estudios Superiores de Occidente (ITESO), Arquitecto, Guadalajara, Mexico.
Solo Exhibitions
- 2013: “Ibíd”, Galería Curro y Poncho, Guadalajara, Mexico.
- 2013: “Capítulo Sugerido”, Casa del Lago, Mexico City, Mexico.
- 2013: “(Un)Intentional”, Post Box Gallery, London, UK.
- 2012: “Estudios de Luz”, Galería Inés Barrenechea, Madrid, Spain.
- 2012: “Intervención”, Polyforum Siqueiros, Mexico City, Mexico.
- 2011: “This Side Towards Screen”, Galería Arte Tal Cual, Mexico City, Mexico.
- 2010: “Chance Meeting”, Galería Curro y Poncho, Guadalajara, Mexico.
- 2010: “Intervención”, Casa Barragán, Mexico City, Mexico.
- 2009: “Sin Título”, MACO Museo de Arte Contemporáneo de Oaxaca, Oaxaca, Mexico.
- 2008: “Auto”, Museo Experimental El Eco, Mexico City, Mexico.
Group Exhibitions
- 2013: “Yo es Otro(s): Autorretrato Contemporáneo”, curated by Paulina Ascencio y Geovana Ibarra, Museo de Arte de Zapopan, Jalisco, Mexico.
- 2013: “Un Mal Necesario”, Bucareli Act. Espacio M, Mexico City, Mexico.
- 2013: “Capítulo Sugerido”, Casa del Lago, Mexico City, Mexico.
- 2013: “(Un)Intentional”, Post Box Gallery, Londres, UK.
- 2012: “Donde el lenguaje es el material”, exposición curated by Fabiola Iza y Victor Palacios, Casa del Lago Juan José Arreola, Mexico City, Mexico.
- 2011: “Alrededor de algo que nos piensa: Alrededor. El paisaje como fenómeno estético”, Curator: Victor Palacios, San Carlos Centro Cultural, Mexico City, Mexico.
- 2011: “NOW”, La colección JUMEX, Instituto Cultural Cabañas, Guadalajara, Jalisco, Mexico.
- 2011: “Atardecer ranchero”, Galería Travesía Cuatro, Madrid, Spain.
- 2010: “Constante”, La Nueva Babilonia, Curator Guillermo Santamarina, Museo de Arte de Zapopan, Guadalajara, Mexico
- 2008: “La Invención de lo Cotidiano”, La Colección Jumex and Museo Nacional de Arte, curators: Frédéric Bonnet, Mexico City, Mexico.
- 2005: “Deriva Mental”, Ciclo de video, Museo Tamayo Arte Contemporáneo, Mexico City, Mexico.
- 2003: “Piel Fría”, Exposición curated by Carlos Ashida, Museo Carrillo Gil, Mexico City, Mexico.
Publications
- 2013: Fernández, Marisa. Francisco Ugarte, Arte y Arquitectura. Clase Premier (48), p. 12. Mexico City, Mexico.
- 2012: García Acuña, Becky. Francisco Ugarte. Cream Magazine (6), pp. 34-39. Guadalajara, Mexico.
- 2010: Reyes, María Fernanda. Francisco Ugarte: La Magia de la Luz y sus Secretos. Al Límite (41), pp. 112-117. Santiago de Chile.
- 2010: Ortiz Partida, Víctor. Guadalajara Arquitectónica o la Provocación del Ejemplar. Tierra Adentro (161-162), pp. 17-21. Mexico City, Mexico.
- 2009: Ashida, Carlos. En Portada: Francisco Ugarte. Educación y Desarrollo (11), pp. 79, 80. Guadalajara, Mexico.
- 2008: Neufeld, Daniel y Cantú, Rocío (Ed.). III 104.- Ugarte Francisco. Índice de Artístas Plásticos en Jalisco (Volúmen 3), pp. 439-441. Guadalajara, Mexico.
- 2007: Francisco Ugarte: Nominated by OPA (Office for Art Projects. Pilot: 3. Venice: June 2007. London: October 2007 (Catálogo), pp. 330-333. London, UK.
- 2003: Santamarina, Verónica (Ed.). Francisco Ugarte. Piel Fría / Peau Froide (Catálogo de la exposición curada por Carlos Ashida), pp. 86-89. Mexico City, Mexico.
- 2002: Francisco Ugarte Vivanco. Braziers 2002: International Artist Workshop (Catálogo, diseñado por Nicola Gray). London, UK.
- 2002: Fernández, Vanesa (Ed,). FRANCISCO UGARTE. Un lugar en otro lugar ici, ailleurs (Catálogo de la exposición curada por Vanesa Fernández y Patrick Charpenel). Paris, France.
- 2001: Fernández, Vanesa (Ed.). Mínimo Ideal, Francisco Ugarte. Celeste (1), pp. 72, 73. Mexico City, Mexico.
- 2001: Santamarina, Guillermo. Contra el Muro. Puerto Rico ’00 [Paréntesis en la “Ciudad”] (Catálogo de la Bienal realizada por M&M proyectos), p. 77. Puerto Rico.
Collections
- Colección Jumex, Mexico City, Mexico.
- Colección Isabel y Agustín Coppel, Mexico City, Mexico.
- Instituto Cultural Cabañas, Guadalajara, Mexico.
- Colección Jorge Pérez, Miami, USA.
- Colección Patrick Charpenel, Guadalajara, Mexico.
- Orange County Museum of Art, California, USA.
-
The Petitgas Collection, London, UK.
-
The Richard J. Massey Collection, NY, USA.
- Francisco Ugarte, “Sin Título (Papel y Grafito)”, 2013, Series: Pieza única, Graphite on 12 sheets of different types of paper, Variable dimensions.
- Francisco Ugarte, “Sin Título (Tres Proyectores 2)”, 2011, Series of three, Three projectors and slides (projection in loop), Variable dimensions.
- Francisco Ugarte, “Sin Título (De la Serie Líneas)”, 2013, Series: Pieza única, Graphite on paper, 122 x 244 cm (48.03 x 96.06 in.).
- Francisco Ugarte, “Intervención al Polyforum Siqueiros”, 2012, Series: Pieza única, Plastic hose, black paint and vinyl. Polyforum Siqueiros, Mexico City. Photo credit: Pedro Hiriart.
- Francisco Ugarte, “Sin Título (Cajas de Luz)”, 2010, Series: Pieza única, Light boxes and paper, 65 x 48 x 115 cm (25.59 x 18.89 x 45.27 in.).
- Francisco Ugarte, “Sin Título (Ejercicios con Diapositivas)”, 2013, Series of three, Slide projector, slides and tape (projection in loop), Variable dimensions.
- Francisco Ugarte, “Sin Título (Neón Blanco)”, 2009, Series: Pieza única, Intervention with neon. Talcual Gallery, Mexico City. Photo credit: Pedro Hiriart.
- Francisco Ugarte, “Sin Título (Oaxaca)”, 2009, Series: Pieza única, Black paint and black glass. MACO Museum of Contemporary Art of Oaxaca. Photo credit: Francisco Ugarte.
- Francisco Ugarte, “Auto-”, 2008, Series: Pieza única, 4 mirrors. Museo Experimental El Eco, Mexico City. Photo credit: Pedro Hiriart.
- Francisco Ugarte, “Sin Título (Luz y Esquina)”, 2008, Slide projector and intervened slides (projection in loop), Variable dimensions.
- Francisco Ugarte, “Sin Título (Objetos del Estudio)”, 2013, Series: Pieza única, Various objects and lamps, 200 x 150 x 270 cm (78.74 x 59.05 x 106.29 in.).
- Francisco Ugarte, “Escultura de Papel”, 2013, Series of three, Paper, 152 x 290 x 29 cm (59.84 x 114.17 x 11.41 in.).
- Francisco Ugarte, “Montañas de Luz”, 2013, Series of three, Slide projector and a transparent plastic sheet, Variable dimensions.
- Francisco Ugarte, “Autorretrato”, 2012, Series: Pieza única, Various objects, 130 x 90 x 140 cm (51.18 x 35.43 x 55.11 in.).
- Francisco Ugarte, “No Man Is An Island”, 2012, Series: Pieza única, 30 panels of paper, graphite and wood frames, 122 x 122 cm each (48 x 48 in. each)
October 9, 2013 Luis Roldán https://abstractioninaction.com/artists/luis-roldan/
Selected Biographical Information
Education / Training
- Pontificia Universidad Javeriana, cinco años, Arquitecto. Bogota, Colombia.
- Atelier 17, S.W. Hayter, Grabado Moderno, Paris, France.
- Art History, L’ Ecole du Louvre, Paris, France.
Prizes / Fellowships
- 2000: Premio Luis Caballero, Segunda Versión, IDCT, Alcaldia Mayor de Bogotá, Colombia.
- 1996: 1er premio pintura, XXXVI SALON NACIONAL DE ARTISTAS, Instituto Colombiano de Cultura, Colcultura, Corferias, Bogota, Colombia.
- 1992: Mencion, XXXV SALON NACIONAL DE ARTISTAS, Instituto Colombiano de Cultura, Colcultura, Corferias, Bogota, Colombia.
- 1990: Visual Arts New Work Award, Wisconsin Arts Board.
- 1989: Milwaukee County Artists Fellowship.
- 1984: Jury Award, SMALL WORKS, (Eight Annual Contest), Galleries, 80 Washington Square East, New York University, N.Y., USA.
- 1979: Icetex Fellowship for Art Studies Abroad.
Solo Exhibitions
- 2013: “MECHANICAL VENTILATION”, Henrique Faria Fine Arts, New York, USA.
- 2011: “SALTO TEQUENDAMA”, Galeria Casas Reigner, Bogotá, Colombia.
- 2010: “OTRAS VOCES”, Faria & Fabregas Galeria, Caracas, Venezuela.
- 2010: “REVISION”, New Mexico State University Art Gallery, Las Cruces, NM, USA.
- 2009: “CIRCUNSTANCIAS”, Galeria Casas Riegner, Bogotá, Colombia.
- 2007: “TERRITORIOS”, Galeria Casas Riegner, Bogotá, Colombia.
- 2006: “PERMUTANTES”, Cámara de Comercio de Bogotá, Colombia.
- 2006: “ACERCA DE LAS ESTRUCTURAS”, MADC, Costa Rica.
- 2005: “PERMUTANTES”, Sala Mendoza, Caracas, Venezuela.
- 2005: “FRAGMENTED DREAMS”, Amelie A. Wallace Gallery, SUNY College at Old Westbury, New York, USA.
- 2005: “MARGENES PARALELAS”, Galeria Casas Riegner, Bogotá, Colombia.
Group Exhibitions
- 2013: “PERMANENCIA DEL ARTE GEOMETRICO”, Galeria Frances Wu, Lima, Peru.
- 2012: “TRACING TIME”, Josée Bienvenu Gallery, NY, USA.
- 2012: “X BIENAL MONTERREY FEMSA”, Exposición Sextanisqatsi –Curado por José Roca, Monterrey, Mexico.
- 2010: “THEN AND NOW”, Abstraction in Latin American Art 1950-present, 60 Wall Gallery, Deutsche Bank, NY, USA.
- 2009: “VENICE BIENNALE“, Pabellón de América Latina IILA “Mundus Novus ”, Artiglierie dell’Arsenale.
- 2008: “PROYECTOS ESPECIALES”, ARCO, Madrid, Spain.
- 2008: “FORMA, LINEA, GESTO, ESCRITURA”, MuVIM, Valencia, Spain.
- 2007: “LINEA CONTINUA”, Lugar a Dudas, Cali, Colombia.
- 2006: “MARCAS REGISTRADAS”, Museo Nacional de Colombia, Bogotá, Colombia.
- 2006: “ESTRECHO DUDOSO”, Teoretica, Costa Rica.
- 2004: “DIBUJOS”, Johana Calle – Luis Roldán, Museo de Arte Moderno de Buenos Aires, Argentina.
- 2004: “DIBUJOS”, Johann Calle – Luis Roldán, Museo de Arte Moderno de Montevideo.
- 2004: “URBES INTERIORES”, BLLA, Banco de la República, Bogotá, Colombia.
- 2003: “VIOLOGY”, University of the Pacific.
- 2002: “VIOLOGY”, Galeria de la Raza, San Francisco, CA, USA.
Collections
- Bibilioteca Luis Angel Arango, Bogota, Colombia.
- Milwaukee Art Museum, Milwaukee, USA.
- Museo de Arte Moderno de Buenos Aires, Argentina.
- Museo de Arte Moderno de Bogotá, Colombia.
- Museo de Arte Moderno La Tertulia, Cali, Colombia.
- Museo de Arte Moderno Medellin, MAM, Colombia.
- Museo de Arte Latinoamericano, Managua, Nicaragua.
- Museo de Arte Universidad Nacional de Bogotá, Colombia.
- Museo Nacional de Colombia, Bogotá MADC, Costa Rica.
- Museo del Barrio, New York, USA.
- The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, N.Y., USA.
- Colección Suramericana, Medellín, Colombia.
- The Colección Patricia Phelps de Cisneros (CPPC), USA.
- Banco Mercantil, Caracas, Venezuela.
- Cisneros Fontanals Art Foundation, USA.
- Celarg Foundation, Caracas, Venezuela.
- Teorética, Costa Rica.
- Drawing Collection of the Deutsche Bank, New York, USA.
- Coleccion FEMSA, Monterrey, Mexico.
- Luis Roldán, “Reflexiones, : III”, 1990, Series: Reflexiones, Oil on linen, 183 x 157 cm. Photo credit: Tom Bamberger
- Luis Roldán, “Calendario”, 1996, Detrito, wood, 300 x 900 cm. Museo Nacional de Colombia, Bogotá. Photo credit: Clemencia Poveda
- Luis Roldán, “Parque de la independencia,Alicia…”, 1994, Series: Parque de la independencia, Oil on linen, 250 x 320 cm. Photo credit: Oscar Monsalve
- Luis Roldán, “Que estoy haciendo aqui”, 1999-2000, Graphite, paper, Installation view and details. Image courtesy of the artist
- Luis Roldán, “To be young and homeless”, 2002, Series: To be young and homeless, Oil on linen, 190 x 200 cm. Image courtesy of the artist
- Luis Roldán, “Columbrares”, 2006, Series: Margenes Paralelas, Ink, acrylinc on linen, 122 x 136 cm.
- Luis Roldán, “Columbrares”, 2005, Series: Margenes Paralelas, Ink, acrylinc on linen, 122 x 136 cm.
- Luis Roldán, “Desdoblado”, 2006, Series: Sueños, Torn sheet, 186 X 320 com. Location: BLAA, Bogotá.
- Luis Roldán, “Antipolar”, 2007, Series: Sueños, Torn sheet, Variable dimensions. Photo credit: Oscar Monsalve
- Luis Roldán, “Agobio”, 2007, Series: Sueños, Torn sheet, Variable dimensions. Photo credit: Oscar Monsalve
- Luis Roldán, “Pajarera”, 2009, Series: Circunstancias, Mixed media, Variable dimensions. Photo credit: Oscar Monsalve
- Luis Roldán, “Strike Gently II”, 2012, Series: Strike Gently, Books of found matches and cardboard, Variable dimensions. Colección FEMSA. Photo credit: Angela Bonadies
- Luis Roldán, “Numerales II”, 2008-2010, Series: Numerales, Found receipts and acrylic on paper, 100 frames of 31.5 x 24.5 each. Photo credit: Oscar Monsalve.
- Luis Roldán, “La pared II”, 2013, Series: La pared, Paper, print paper and metallic frames, Variable dimensions. Photo credit: Oscar Monsalve.
- Luis Roldán, “Wash & Ware”, 2013, Lint from dryer, Variable dimensions. Photo credit: Arturo Sanchez.
In the work process, in the process of shaping and changing the nature exterior to him, man is shaped and changes himself: My work is presented as a system of questioning of the creative practice, of the execution, productive realization and notion of work. A search of meaning in the activity that makes possible not only locate its motive, the why of creating, but that would also allow to establish a critical vision of the role that the subject plays in the work environment. Revalue the creative practice and find meaning in the work through the experience in the continuous making: To determine my reality through the experience and practice of my creative abilities, whose activation allows the emergence of forms of subjectivity and one’s own knowledge. Therefore, experience, comprised of the development and accumulation of moments of execution and site-specific plastic exercise, allows me to establish a strategic and perspective relation from where to position facing that which surrounds us.
I recognize from the creative making my position as subject result of the possibilities, events, dialogue and interpretation. Place of continuous transformation, determined by the creative activity within the physical limitations of space and the materials. A scenario of action and experience.
My work is designed as a system of inquiry into creative practice. It is a search for meaning that not only uncovers motivation, answering the question of why to create, but also permits a critical appraisal of the role of the subject who performs personal work. Reassessing the creative process allows me to make sense of making art through experiencing its continual realization.
It consists of determining my subjective reality and setting in motion my creative faculties, which enable the emergence of new understandings. In this way, experience, consisting of the development and accumulation of moments of creation, informs my strategic orientation towards my surroundings.
Accordingly, I recognize that as the subject of creative doing, I am shaped by possibilities, events, dialogues and interpretations in a place of continual transformation, a setting of action and experience in which creative activity is restricted only by the physical limits of workspace and materials.
En el proceso del trabajo, en el proceso de moldear y cambiar la naturaleza exterior a él, el hombre se moldea y se cambia a sí mismo: Mi obra se presenta como un sistema de cuestionamiento de la práctica y del quehacer creativo, de la ejecución, realización productiva y la noción del trabajo. Una búsqueda de sentido en la actividad que posibilite no solo ubicar su motivación, el por qué crear, sino que también permita establecer una visión crítica del papel que desempeña el sujeto en el ambiente laboral.
Revalorizar la práctica creativa y encontrar sentido en el trabajo por medio de la experiencia en el hecho continuo de su realización: Determinar mi realidad por medio de la experiencia y puesta en marcha de mis facultades creativas, cuyo accionar permiten la emergencia de formas de subjetividad y conocimientos propios. Es así que la experiencia, constituida por el desarrollo y acumulación de momentos de ejecución y ejercicio plástico in situ, me permite el establecimiento de una relación estratégica y perspectiva desde donde situarse frente aquello que me rodea.
Reconozco desde el hacer creativo mi posición como sujeto fruto de lo eventual, el acontecimiento, el dialogo y la interpretación. Lugar de continua transformación, determinado por la actividad creativa dentro de los límites físicos del espacio y los materiales de trabajo. Un escenario de acción y experiencia.
Selected Biographical Information
Education / Training
- 2004: National Arts School “La Esmeralda”, CENART, BFA, Mexico City, Mexico.
- 1992: Metropolitan University-Xochimilco, BFA, Major in Graphic Communication & Design, Mexico City, Mexico.
Prizes / Fellowships
- 2010: Production grant. La Colección JUMEX. México D.F., Mexico.
- 2010: Production grant. National System of Creators Grant (SNC). FONCA. Mexico City, Mexico.
- 2009: CIFO production grant. Cisneros Fontanals Art Foundation CIFO. Miami USA.
- 2008: Artist Pension Trust. New York, USA.
- 2008: XIV Bienal Rufino Tamayo. Museo Tamayo. Mexico City, Mexico.
- 2007: Bienal FEMSA 2007. Monterrey México.
- 2006: Production grant. National System of Creators Grant (SNC). FONCA. Mexico City, Mexico.
- 2006: Production grant & residency.Triangle Art Trust Artist’s Workshop – New York. New York USA.
- 2006: Production grant & residency. Drake International Artist Residency Program. Toronto, Canada.
- 2006: Sociedad de Valores de Arte Mexicano SIVAM Artes Visuales Premio 2006. Mexico City, Mexico.
- 2006: Production grant. La Colección JUMEX. México D.F. Production grant.
- 2005: Production grant & residency Triangle Art Trust – KM.0 URBANO Art Residency. Santa Cruz, Bolivia.
Solo Exhibitions
- 2013: “Todo es Vacío”, Galería Arróniz Arte Contemporáneo, Mexico City, Mexico.
- 2013: “Vazio Contido”, Zipper Galeria, São Paulo Brazil. Curator Paula Braga.
- 2013: “Bosque Desnudo”, Museo de Arte Moderno, México City. Curator Graciela Kasep.
- 2012: “Open Works”, VickyDavid Gallery, New York USA.
- 2012: “Principios de Afirmación”, Galería Espacio Mínimo, Madrid Spain.
- 2012: “Cumulative Act Effect”, MULTIPLESPACINGS, PROGR Zentrum fur Kulturproduction, Bern, Switzerland
- 2011: “Hacia una arquitectura posible”, CENTRAL Art Projects, México City, Mexico.
- 2010: “Espacios de Concentración”, Galería Enrique Guerrero, México City, Mexico.
- 2010: “Making Evidence”, JGM Galérie, Paris, France.
- 2010: “La Suite Bollard”, Galería Nueveochenta, Bogotá, Colombia.
- 2008: “Zona en Construcción”, Museo Experimental El Eco UNAM, Curator Guillermo Santamarina & David Miranda, Mexico City, Mexico.
Group Exhibitions
- 2013: “FORMAS Y PASAJES”, Escultura Contemporánea, Centro de las Artes Monterrey. Curator Graciela Kasep.
- 2012: “VISUAL RYTHM”, BMOCA Boulder Museum of Contemporary Art, Colorado USA. Curator David Dadone & Petra Sertic
- 2012: “MEXICO: EXPECTED/UNEXPECTED”, Collection Agustin & Isabel Coppel: Katzen Art Center, American University Washington D.C. Curator Carlos Basualdo.
- 2011: “NOW”, Fundación colección JUMEX, Mexico. Curator Victor Samudio.
- 2011: “Salons de Lecture”, La Kunsthalle Mulhouse, France. Curator Mélanie Kiry.
- 2011: “Transurbaniac”, Museo Universitario de Arte Contemporáneo MUAC UNAM. México D.F. Curator Guillermo Santamarina.
- 2010: “Cimbra”, Museo de Arte Moderno Mexico City. Curator Osvaldo Sánchez.
- 2010: “Constante”, La Nueva Babiloni, Zapopan Museo de Arte MAZ, Zapopan Jalisco. Curator Guillermo Santamarina.
- 2009: “Shifting Constructs”, Grants & Commissions exhibition, The Cisneros Fontanals Art Foundation (CIFO). Miami USA.
- 2008: “Narrative / Non-Narrative”, The Cisneros Fontanals Art Foundation (CIFO). Miami USA.
Publications
- VAZIO CONTIDO / Contained Emptiness. Zipper Galeria. 2013. ISBN: 978-85-66065-03-9
- OPEN WORKS, Ricardo Rendón. VickyDavid Gallery. New York USA. 2012
- MANUAL DE OPERACION. Ricardo Rendón. Ed. Vainilla Planifolia. Mexico City. 2011. ISBN 978-607-95650-0-8
- NOW. Fundación Colección JUMEX. Mexico. 2012. ISBN 978-607-95037-9-6
- CARGA UTIL. MAM Museo de Arte Moderno. Mexico City. 2012.
- Entre chien et loup: obras de la colección Meana Larrucea. Spain. 2011. ISBN: 8469431293, 9788469431290
- TRANSURBANIAC. MUAC Museo Universitario de Arte Contemporáneo. UNAM Mexico City 2010. ISBN 978-607-02-1328-1
- MEXICO Expected/Unexpected. TEA Tenerife Espacio de las Artes. Tenerife España. 2009. ISBN 978-84-937103-1-6
- MEXICO Expected/Unexpected. Collection Isabel & Agustin Coppel. Maison Rouge. Paris France 2008. ISBN 978-2-84975-146-6
- ESQUIADOR EN EL FONDO DE UN POZO. Fundación Colección JUMEX. Mexico. 2006. ISBN: 9685867011, 9789685867016
- ART NEXUS. No. 63 Vol. 6 2007.
- ART NEXUS. No. 83 Vol. 10 2011. p. 117.
Collections
- Sayago & Pardon, CA USA.
- Cisneros Fontanals Art Foundation CIFO, Miami USA.
- Bank of America, NY USA.
- MUAC Museo Universitario de Arte Contemporáneo UNAM, Mexico City.
- MAM Museo de Arte Moderno, INBA Mexico City.
- Isabel & Agustin Coppel Collection, Mexico City.
- The JUMEX Collection, México City.
- Museo Laboratorio de Arte Alameda, México City.
- Fondation Daniel Langlois, Quebec, Canadá.,
- Museo de Arte Contemporáneo, Santa Cruz Bolivia.
- Lacoste, Paris, France.
- Colección Meana-Larrucea, Spain.
- Biblioteca Luis Ángel Arango – Museo de Arte del Banco de la República, Santafé de Bogota, Colombia.
Links
- Arte-Sur
- Bamboo
- Museo de Arte Moderno
- Art Daily
- Boulder Museum of Contemporary Art
- Zipper Galeria
- Bosque Desnudo
- TODO ES VACÍO
- Ricardo Rendón, “MATERIA PENDIENTE (ESTADOS DE TRANSFORMACIÓN)”, 2013, Modified industrial felt and iron grommets, 495 x 100 x 100 cm. Site-specific project. Location: ZIPPER Galeria, São Paulo. Image courtesy of the artist
- Ricardo Rendón, “AREA DE CORTE”, 2013, Perforated industrial felt and iron grommets , 185 x 160 cm. Image courtesy of the artist
- Ricardo Rendón, “ESPACIO DE CONCENTRACIÓN (MURO ABIERTO)”, 2010, Modified MDF Construction, 293 x 134 x 20 cm. Image courtesy of the artist
- Ricardo Rendón, “PATRONES DE OBRA”, 2012, Perforated industrial felt and iron grommets, 240 x 380 cm. Image courtesy of the artist
- Ricardo Rendón, “AREA DE TRABAJO (TRABAJO CON MADERA)”, 2007, Modified wood boards, Variable dimensions. Museo Universitario de Arte Contempóraneo MUAC, Mexico City. Image courtesy of the artist
- Ricardo Rendón, “MURO FALSO”, 2008, Modified drywall installation, Variable dimensions. Site-specific project. Location: Maison Rouge, Paris, France. Image courtesy of the artist
- Ricardo Rendón, “AREA DE TRABAJO”, 2010, Perforated industril felt and iron grommets, 150 x 140 each, 3 pieces. Image courtesy of the artist
- Ricardo Rendón, “MATERIAL DE RECORTE”, 2013, Perforated industrial felt and iron grommets, 350 x 40 x 225 cm. Image courtesy of the artist
- Ricardo Rendón, “TRIPLE AFIRMACION”, 2013, Perforated industrial felt and iron grommets, 210 X 230 X 40 cm. Image courtesy of the artist
- Ricardo Rendón, “CIRCUITOS DE ILUMINCIÓN (LÍMITE)”, 2013, Polished copper, industrial felt and iron grommets, 220 x 100 x 60 cm. Image courtesy of the artist
- Ricardo Rendón, “ZONAS DE ACTIVIDAD”, 2010, Site-specific intervention with drywall screws, Variable dimensions. Location: Museo de Arte de Zapopan, Guadalajara Mexico. Image courtesy of the artist
- Ricardo Rendón, “TRABAJOS DE ACUMULACIÓN”, 2012, Perforated industrial felt and iron grommets, 90 x 70 cm each. Image courtesy of the artist
- Ricardo Rendón, “PATRONES DE CONCENTRACIÓN”, 2013, Perforated industrial felt and iron grommets, 195 cm each. Image courtesy of the artist
- Ricardo Rendón, “OPEN WINDOW”, 2012, Site-specific installation with modified drywall, Variable dimensions. Location: BMoCA Boulder Museum of Contemporary Art. Denver USA. Image courtesy of the artist
- Ricardo Rendón, “BOSQUE DESNUDO”, 2013, Site-specific installation with trunks seized by illegal logging, Variable dimension, 3m high. Location: Mueo de Arte Moderno, Mexico. Image courtesy of the artist.
Selected Biographical Information
Education / Training
- 2010: Proyecciones y Superficies Workshop, National Center for the Arts, Mexico City, Mexico.
- 2010: Ejercicio de Correspondencia Workshop, SOMA, Mexico.
- 2007: Diploma Course in Museology, Centro Cultural Casa Lamm, Mexico City, Mexico.
- 2006: BFA, Autonomous University of the State of Morelos, Mexico.
- 2003: Diploma Course in Photography, Centro Morelense de las Artes, Mexico.
Prizes / Fellowships
- 2013: Artist-in-residence, SE RENTA.
- 2012: Bancomer MACG Program Fellow.
- 2011: Artist-in-residence, La Chambre Blanche, Québec, Canada.
- 2011: International Residency Program at the École Superier d’Art et Design, Saint Ettienne, France.
- 2010: Young Creators Grant, Painting, National Fund for Culture and Arts, Mexico.
- 2007: Mexican American Fellowship, Mexican American Foundation.
Solo Exhibitions
- 2013: “Vanishing Act”, Steve Turner Contemporary, Los Angeles, CA, USA.
- 2012: “Monochromatic Muralism”, Arratia Beer, Berlin, Germany.
- 2012: “Victoria Pirrica”, ATEA, Mexico City, Mexico.
- 2011: “Arquitectura Desdoblada”, Museo Experimental El Eco, Mexico City, Mexico.
- 2011: “Wall to Wall”, Steve Turner Contemporary, Los Angeles, CA, USA.
- 2008: “Eternity in an Empty Room”, Arcaute Arte Contemporáneo, Monterrey, Mexico.
Group Exhibitions
- 2013: “Other People’s Problems: Conflicts and Paradoxes”, Herzliya Museum of Contemporary Art, Tel Avi.
- 2013: “When Attitudes Became Form Becomes Attitudes”, Museum of Contemporary Art, Detroit, USA.
- 2013: “Lost Line: Contemporary Art from the Collection”, Los Angeles County Museum of Art, USA.
- 2012: “Tiempo de Sospecha”, Museum of Modern Art, Mexico.
- 2012: Bienal Tamayo, MACO, Oaxaca, Mexico.
- 2011: Transitio_MX04- Festival of Electronic Arts and Video, Mexico City, Mexico.
Publications
- 2012: “Arquitectura Desdoblada/Unfolded Architecture, ” Beau Dessordre Press, First Edition, Mexico.
- 2012: “Nieve”, Malpais ediciones, First Edition, Mexico.
- 2010: “Desde las entrañas de Teotihuacan”, México Desconocido Magazine #404, XXXIV, October.
- 2009: “Preserración de Forma y Equilibrio”, Oráculo, Revista de Poesia #29-30, año 9, October.
- 2009: “Six years on paper”, Bard Free Press, Volume 10, issue 5, 2009.
- Pablo Rasgado, “Fragmental (installation view)”, 2012, Variable dimensions, Site-specific project. Location: Steve Turner Contemporary. Image courtesy of the artist and Steve Turner Contemporary
- Pablo Rasgado, “Paint Study (installation view)”, 2012, Series: Paint Study, Drywall and acrylic, Variable dimensions, Site-specific project. Location: Zona Maco 2012. Image courtesy of the artist and Steve Turner Contemporary
- Pablo Rasgado, “Arquitectura Desdoblada (LACMA)”, 2013, Series: Arquitectura Desdoblada, Drywall and acrylic paint, 78 3/4 x 78 3/4 in. Image courtesy of the artist and Steve Turner Contemporary
- Pablo Rasgado, “Arquitectura Desdoblada (LACMA)”, 2013, Series: Arquitectura Desdoblada, Drywall and acrylic paint, 78 3/4 x 78 3/4 in. Image courtesy of the artist and Steve Turner Contemporary
- Pablo Rasgado, “Arquitectura Desdoblada (LACMA)”, 2012, Series: Arquitectura Desdoblada, Drywall and acrylic paint, 67 x 78 3/4 in. Image courtesy of the artist and Steve Turner Contemporary
- Pablo Rasgado, “Unfolded Architecture (Liquid Solid System)”, 2012, Series: Unfolded Architecture, Drywall and acrylic paint, 78 3/4 x 78 3/4 in. Image courtesy of the artist and Steve Turner Contemporary
- Pablo Rasgado, “Unfolded Architecture (Museum Walls from Museo de Arte)”, 2012, Series: Unfolded Architecture, Drywall and vinyl mounted to panel, 47 x 35 in. Image courtesy of the artist and Steve Turner Contemporary
- Pablo Rasgado, “Meca Sinécdoque #22-28”, 2012, Series: Meca Sinécdoque, Acrylic and spray paint on canvas mounted to MDF, 9 1/4 x 18 in. Image courtesy of the artist and Steve Turner Contemporary
- Pablo Rasgado, “Avenida Corona del Rosal”, 2011, Diesel soot, polycyclic aromatic hydrocarbons, tire and brakewear particles, 47 x 111 in. Image courtesy of the artist and Steve Turner Contemporary
- Pablo Rasgado, “Paint Study #65”, 2011, Drywall and acrylic paint, 23 x 18 in. Image courtesy of the artist and Steve Turner Contemporary
- Pablo Rasgado, “PRI, Office Building Mayor’s Residence and Comission”, 2011, Enamel on canvas, 94 x 108 in. Image courtesy of the artist and Steve Turner Contemporary
- Pablo Rasgado, “Untitled (Havana)”, 2010, Acrylic on canvas, 80 x 45 in. Image courtesy of the artist and Steve Turner Contemporary
- Pablo Rasgado, “Lightning”, 2009, Acrylic, plaster and dirt on canvas, 118 x 79 in. Image courtesy of the artist and Steve Turner Contemporary
- Pablo Rasgado, “Axis”, 2013, Series: Axis, 28 books, 78 3/4 x 78 3/4 in. Image courtesy of the artist and Steve Turner Contemporary
Translated from Portuguese
I think that there is no art without something that doesn’t fit neither in life nor in time. You look at an ancient work and it seems as if it was done yesterday. The blue color in chapel Scrovegni, by Giotto (14th century), is as current as the blue color used by Yves Klein (1928-62). At the end, all art is contemporary.
Traducido del portugués
Pienso que no hay arte sin aquello que no tiene cabida ni en la vida ni en el tiempo. Al mirar un trabajo de la antigüedad, éste pareciera que fue hecho ayer. El color azul de la capilla Scrovegni, de Giotto (siglo XIV), es tan reciente como el azul de Yves Klein (1928-62). Al final, todo el arte es contemporáneo.
Acho que não há arte sem alguma coisa que não caiba na vida nem no tempo. Você olha uma coisa antiga e parece que ela foi feita ontem. O azul da capela Scrovegni, de Giotto [do século 14], é tão recente quanto o azul de Yves Klein [1928-62]. No fundo, toda arte é contemporânea.
Selected Biographical Information
Education / Training
- 1982: USP (University of São Paulo), philosophy.
Prizes / Fellowships
- 2009: Portugal Telecom Prize for Literature, São Paulo, Brazil.
- 2009: Bravo Award! – Best exhibition of the year, São Paulo, Brazil.
- 2007: Grand Prize Award – Barnett Newman Foundation, New York, USA.
- 2006: Bravo Award! – Arts / Best Solo Exhibition, São Paulo, Brazil.
Solo Exhibitions
- 2013: “Lime 87”, University Center Maria Antonia, Sao Paulo, Brazil.
- 2013: “Nuno Ramos, Angel and Doll”, Fortes Vilaca Gallery, São Paulo, Brazil.
- 2012: “3 Muds (They seemed eternal!)”, Celma Albuquerque Gallery, Belo Horizonte, Minas Gerais, Brazil.
- 2012: “The globe of death of all”, with Eduardo Climachauska, Anita Schwartz Gallery, Rio de Janeiro, Brazil.
- 2010: “Strange Fruit”, Museum of Modern Art in Rio de Janeiro, Brazil.
- 2009: “Dead Sea”, Anita Schwartz Gallery, Rio de Janeiro, Brazil.
- 2004: “Nuno Ramos and Frank Stella”, Nave 5 Gallery, São Paulo, Brazil.
Group Exhibitions
- 2013: “Moving”, Norman Foster on Art, Carré d’Art Museum, Nîmes, France.
- 2013: “30x Biennial”, Biennial of São Paulo Foundation, São Paulo, Brazil.
- 2012: “Subverted”, Ivory Press, Madrid, Spain.
- 2011: “Europalia”, FODASEFOICE, performance at Atelier Sidnei Tendler, Brussels.
- 2010: “XXIX International Biennial of São Paulo“, São Paulo, Brazil.
Publications
- 2011: Junco, Iluminuras Publishing House, São Paulo, Brazil.
- 2010: O Mau Vidraceiro, Globo Publishing House, São Paulo, Brazil.
- 2010: Nuno Ramos, Cobogó Publishing House, São Paulo and Rio de Janeiro, Brazil.
- 2009: O, Iluminuras Publishing House, São Paulo, Brazil.
- 2008: Ensaio geral, Globo Publishing House, São Paulo, Brazil.
- 2004: Morte das Casas, House of Image and Bank of Brazil Cultural Center, Curitiba e São Paulo, Brazil.
- 2002: Noites Brancas, House of Image Publishing House, Curitiba, Brazil.
- 2001: O Pão do Corvo, 34 Publishing House, São Paulo, Brazil.
- 1997: Nuno Ramos, Ática Publishing House, São Paulo, Brazil.
Links
- Nuno Ramos, “Untitled”, 2006, Brass, copper, aluminum, plush, plastics, fabrics, mirror, acrylic, oil paint and stainless steel pipes, 157,5 x 315 x 70,9 in. Image courtesy of the artist
- Nuno Ramos, “Untitled”, 1989, Vaseline, paraffin, linseed oil, turpentine, pigment, fabrics, nylon screen, felt, blankets, rubber, gold leaf and metals on wood, 133,9 x 110,2 in. Image courtesy of the artist
- Nuno Ramos, “Untitled”, 2005, Plush, aluminum, mirror, acrylic, Vaseline and oil paint, 90,5 x 43,3 in. Image courtesy of the artist
- Nuno Ramos, “Untitled”, 2009, Series: Plato, Gold leaf, silver leaf, graphite, charcoal and oil paint on paper, 6.3 x 11.4 in. Image courtesy of the artist
- Nuno Ramos, “Untitled”, 2009, Series: Plato with Sun, Gold leaf, silver leaf, graphite, charcoal and plastics on paper, 11.4 x 16.5 in. Image courtesy of the artist
- Nuno Ramos, “Schreber 18”, 2012, Series: Schreber, Silver leaf, graphite, charcoal and oil paint on paper, 84.65 x 59.84 in. Image courtesy of the artist
- Nuno Ramos, “Angel and Doll 13”, 2013, Series: Angel and Doll, Gouache and charcoal on paper, 59.84 x 84.65 in. Image courtesy of the artist
- Nuno Ramos, “White Flag”, 2010, Three sculptures and three posts, all made of granite and pressed burnt sand, three vultures and three glass loudspeakers. Protection mesh, Variable dimensions, Site-specific project. Location: XXIX International Biennial of São Paulo. Image courtesy of the artist and Fortes Vilaça Gallery
- Nuno Ramos, “Black Cry”, 2004, Marble, tar, electrical resistance, 63 x 43.3 x 96.9 in. Image courtesy of the artist
- Nuno Ramos, “What are hours?”, 2003, Compressed burnt sand, burnt oil and clocks, 70.9 x 157.5 x 157.5 in. Image courtesy of the artist
- Nuno Ramos, “Black Manorá”, 1999, Polished marble, vaseline and ashes, 67 x 61 x 11.8 in. Image courtesy of the artist
- Nuno Ramos, “Drop”, 1998, Marble, blown glass and vaseline. / Marble, blown glass and liquid vaseline, 39,4 x 106,3 x 39,4 in / 39,4 x 118,1 x 39,4 in. Image courtesy of the artist
- Nuno Ramos, “Untitled”, 1998, Marble and, vaseline, 82.7 x 74.8 x 55.1 in. Image courtesy of the artist
- Nuno Ramos, “Fungus”, 1998, Ceramics, Variable dimensions. Image courtesy of the artist
- Nuno Ramos, “Go, go”, 2006, Donkeys, hay, salt, water, steel barrels, loudspeakers, plywood, sawdust and splinter, Variable dimensions. Image courtesy of the artist
It has always been about the overlap between form and politics for me. I believe I need to occupy my own place in the world while taking responsibility for the way I do this, I have chosen to be an artist-this was not imposed upon me-and so I understand form to be my concern. I try to stay in the realm of the visual and the sensible as a means of defending that space itself, a space constantly open to redefinition-one in which subjectivity can be played out. This is why self-reflexivity can be important. To me it is a political stance. If one could say that art is concerned with the imagination, I believe that how imagination is formed is a pertinent question that also speaks to society in a larger sense. The ways we imagine and how we are conditioned to imagine are both artistic and political concerns to me.
Traducido del inglés
Para mí, siempre ha sido acerca de la superposición de la forma y la política. Creo que tengo que ocupar mi propio lugar en el mundo mientras me responsabilizo de la forma en la que lo hago. He elegido ser una artista—esto no fue impuesto sobre mí—así que entiendo la forma como interés. Intento permanecer en el ámbito de lo visual y lo sensible como modo de defender ese espacio, un espacio constantemente abierto a las redefiniciones, en el cual la subjetividad puede ser representada. Es por esto que la auto-reflexión puede ser importante. Es para mí una postura política. Si uno pudiera decir que el arte está interesado en la imaginación, creo que la manera en la que se forma la imaginación es también una pregunta pertinente que tiene que ver con la sociedad en un amplio sentido. Las formas en las que imaginaos y cómo estamos condicionados a imaginar son preocupaciones artísticas y políticas para mí.
Selected Biographical Information
Education / Training
- 2005: Rijksakademie van beeldende kunsten/Dutch Ministry of Education, Culture and Science.
- 2003: Instituto Universitario Nacional del Arte, Buenos Aires, Argentina.
- 2003: Escuela Nacional de Bellas Artes P.P. (I.U.N.A.), Buenos Aires, Argentina.
- 2001-2003: Clínica de Obra con Tulio de Sagastizabal.
Prizes / Fellowships
- 2011: Recipient of the Cisneros Fontanals Foundationʼs Grants & Commissions Program.
- 2011: Winner of Art Rotterdam, Illy Prize.
- 2007: Ayudas 07, Spain, C.C. Montehermoso.
- 2007: Certamen, Spain, Explum.
- 2005: Ministry of Foreign Affairs, The Netherlands.
- 2004: Madrid Abierto, Spain, Mention of the Jury.
- 2004: UNESCO-Aschberg, Germany.
- 2004: Bursaries for Artists programme Fundación Antorchas, Argentina.
Solo Exhibitions
- 2013: “Low Visibility”, Johann König, Berlin, Germany.
- 2013: Museo Tamayo, Mexico City, Mexico.
- 2013: Museum of Contemporary Art, Chicago, IL, USA.
- 2013: List Visual Arts Center, Cambridge, MA, USA.
- 2012: Chisenhale Gallery, London, UK.
- 2012: “Amalia Pica – On paper”, Basis, Frankfurt.
- 2012: “For Shower Singers”, Modern Art Oxford, GB.
- 2012: “Chronic Listeners”, Kunsthalle Sankt Gallen, Switzerland.
- 2011: University of Michigan Museum of Art, Ann Arbor, MI, USA.
- 2011: “Endymion’s Journey”, Marc Foxx Gallery, Los Angeles, USA.
Group Exhibitions
- 2013: “Emmy Moore’s Journal”, Salts, Basel, Switzerland.
- 2013: “The Future Generation Art Prize“, Venice 2013, Palazzo Contarini Polignac, Venice, Italy.
- 2013: Aspen Art Museum, Aspen, CO, USA.
- 2013: “Silence, Berkeley Art Museum, University of California, USA.
- 2013: “When Attitudes Became Form Became Attitudes”, Museum of Contemporary Art Detroit, MI, USA.
- 2013: “Version Control”, Arnolfini, Bristol, GB.
- 2013: “Ruins in Reverse”, Tate Modern, London, UK.
- 2012: “Common Ground”, Public Art Fund, New York, USA.
Publications
- Amalia Pica. Edited by Joao Ribas, Julie Rodrigues Widholm, MIT List Visual Arts Center, Museum of Contemporary Art Chicag.
- Jacob Proctor: Amalia Pica. In: Artform, January 2013, p. 81.
- Amalia Pica in the studio with Charlotte Bonham-Carter. In: Art in America, June/July 2012, pp. 150-157.
- Amalia Pica. Edited by Malmö Konsthall, 2011.
Links
- Amalia Pica, “Untitled (tiles), 2006, Beer coasters, Variable dimensions. Installation view Modern Art Oxford, GB, 2012
- Amalia Pica, “Untitled (tiles), 2006, Beer coasters, Variable dimensions. Installation view Modern Art Oxford, GB, 2012
- Amalia Pica, “Eavesdropping”, 2011, Glasses, glue, 198 x 731.5 x 20.3 cm, Unique (large version), Installation view New Museum, New York, 2011. Photo credit: Benoit Pailley
- Amalia Pica, “Some of that colour #4”, 2011, Paper flags, drained paper, flag dye on watercolor paper, chair, 200 x 400 x 150 cm. Image courtesy of Marc Foxx
- Amalia Pica, “Stage (as seen on Afghan Star)”, 2011, Cardboard, tape, spotlight, motion sensor, lighting gel, 25.4 x 279.4 x 279.4 cm
- Amalia Pica, “Stage (as seen on Afghan Star)”, 2011, Cardboard, tape, spotlight, motion sensor, lighting gel, 25.4 x 279.4 x 279.4 cm
- Amalia Pica, “Venn Diagrams (under the spotlight)”, 2011, Spotlight on tripod, motion sensor, lighting gel, graphite on wall, Variable dimensions, Installation view List Visual Arts Center, Cambridge, MA, USA
- Amalia Pica, “Venn Diagrams (under the spotlight)”, 2011, Spotlight on tripod, motion sensor, lighting gel, graphite on wall, Variable dimensions, Installation view List Visual Arts Center, Cambridge, MA, USA
- Amalia Pica, “Stabile (with confetti)”, 2012, Paper and transparent adhesive tape, Variable dimensions. Photo credit: Kunst Halle Sankt Gallen, Gunnar Meier
- Amalia Pica, “A intersection B intersection C”, 2013, Variable dimensions, Installation view and performance shot: Museo Tamayo, Mexico City, Mexico
- Amalia Pica, “Catachresis # 41 (eye of the needle, head of the nail, teeth of the comb)”, 2013, Found materials, 34 x 27 x 187 cm, Unique. Photo credit: Roman März. Image courtesy of the artist and Johann König, Berlin
- Amalia Pica, “Catachresis # 44 (legs of the chairs)”, 2013, Found materials, 64 x 44 x 55 cm, Unique. Photo credit: Roman März. Image courtesy of the artist and Johann König, Berlin
- Amalia Pica, “Playing solo and indoors (mechanical jump rope)”, 2013, Steel, motor, rope, 207 x 126 x 600 cm, Unique. Photo credit: Roman März. Image courtesy of the artist and Johann König, Berlin
- Amalia Pica, “Reconfiguration #1”, 2013, Installation with gerahmten collages ( frame, paper, glue), frames each 39,5 x 29,5 x 4 cm, overall 150 x 950 x 4 cm. Unique. Photo credit: Roman März. Image courtesy of the artist and Johann König, Berlin
- Amalia Pica, “Shutter telegraph (as seen on TV)”, 2013, Wood, screws, iron, white paint, 242.5 x 135.2 x 139.2 cm. Unique. Photo credit: Roman März. Image courtesy of the artist and Johann König, Berlin
Translated from Spanish
Extract from interview by Inés Katzenstein, as part of solo show “Influyentes e Influidos”, Galería Braga Menéndez Arte Contemporáneo, 2008 “I never felt much love for objects. I never framed anything, and when I thought that I need it to do it, I decided to adopt the frame as a device of the work in the same way that artifacts are presented in installations before the artifice. Geometry is always present in my work. It keeps moving. In installations, geometry acts as a force that supports a space. It constructs a deception… In these new works, the geometric frame allows me to enclose a light situation. They are architectures of a luminous space that also have shadows (shadows produced from the same immateriality). I like frames that are not orthogonal because they are unstable. (…) The work took its own path, and although my impulses are more toxic, painting keeps being a substance that guides me. Even when my work centers on the act of seeing, what happens in the retina, in the illusion of vision itself. Everything departed from that. If I think about the first painters, to paint is also to do magic.”
Fragmento de la entrevista con Inés Katzenstein, como parte de la muestra individual “Influyentes e Influidos”, Galería Braga Menéndez Arte Contemporáneo, 2008 “Nunca sentí mucho amor por los objetos. Nunca enmarqué nada, y cuando pensé que necesitaba hacerlo, decidí adoptar al marco como un dispositivo de la obra del mismo modo en que los artefactos se presentan en las instalaciones delatando el artificio. La geometría siempre está presente en mi obra. Se va trasladando. En las instalaciones, la geometría actúa como una fuerza que sostiene un espacio. Construye un engaño… En estas obras nuevas, el marco geométrico me sirve para acotar una situación de luz. Son arquitecturas de un espacio luminoso que también tienen penumbra (una penumbra que se produce en la misma inmaterialidad). Los marcos no ortogonales me gustan porque son inestables. (…) La obra fue tomando su propio rumbo, y aunque mis impulsos sean más tóxicos, la pintura sigue siendo una sustancia que me orienta. Incluso cuando trabajo en obras que se centran en el acto de ver, en lo que pasa en la retina, en la ilusión propia de la visualidad. De ahí salió todo. Si pienso en los primeros pintores, pintar es también hacer magia”.
Selected Biographical Information
Education / Training
- 1993: Taller de Pintura con Ahuva Szlimowicz, Buenos Aires, Argentina.
- 1988: Escuela Nacional de Bellas Artes, Profesora Nacional de Pintura, Buenos Aires, Argentina.
Prizes / Fellowships
- 2012: Premio Konex Artes Visuales, Instalación, Fundación Konex, Buenos Aires, Argentina.
- 2012: Primera Mención honorífica, LXVl Salón Nacional, Museo Castagnino, Rosario, Argentina.
- 2009: Tercer premio, Fundación Andreani, Museo Caraffa, Córdoba, Spain.
- 2008: Mención honorífica, Premio Roggio, Museo Caraffa, Córdoba, Spain.
- 2002: Beca Fulbright, otorgada por el Fondo Nacional de las Artes – Comisión Fulbright. ISCP International Studio and Curatorial Program, New York, USA.
- 2000: Mención especial del jurado, Premio Universidad de Palermo, MNBA, Buenos Aires, Argentina.
- 1999: ART/OMI, International Residency Program, New York, USA.
- 1999: Subsidio para la creación, Fondo Nacional de las Artes, Buenos Aires, Argentina.
- 1995: Programa de perfeccionamiento para artistas dirigido por Guillermo Kuitca, Fundación Proa, Buenos Aires, Argentina.
Solo Exhibitions
- 2013: “Lejos del Sol”, Centro Cultural San Martín, Buenos Aires, Argentina.
- 2013: “El aire tomará esta forma”, Museo de Arte Moderno de Buenos Aires, Buenos Aires, Argentina.
- 2012: “Totalmente, Tácitamente”, Galería Vasari, Buenos Aires, Argentina.
- 2012: “Soloprojects”, Galería Vasari, Arco, Madrid, Spain.
- 2011: “Ensayo de Situación”, curated by Inés Katzsenstein, Universidad Torcuato Di Tella, Buenos Aires, Argentina.
- 2011: “The Eyes Sometimes”, Alejandra Von Hartz Gallery, Miami, USA.
- 2011: “RGB/CMY”, U-Turn Project Room, curado por Abaseh Mirvali, Arte Ba, Buenos Aires, Argentina.
- 2010: “Karina Peisajovich”, curated by Tobias Ostrander, Museo Experimental El Eco, Mexico.
- 2010: “Teorías”, Centro Cultural Recoleta, Buenos Aires, Argentina.
- 2002: “Paisaje Domestico”, Casa de América, Madrid, Spain.
- 1999: “Luces, Belleza y Felicidad”, Buenos Aires, Argentina.
Group Exhibitions
- 2013: “Permanencia del Arte Geométrico”, Wu Galería, Lima Perú.
- 2012: “El color: instrucciones de uso”, curated by Phillipe Cyroulnik, Galería Vasari, Buenos Aires, Argentina.
- 2011: “Color on Color”, Frost Art Museum, Miami, USA.
- 2009: “7ma Bienal de Porto Alegre”, curated by Victoria Noorthoorn, Porto Alegre, Brazil.
- 2006: “Iluminaciones”, curated by Victoria Verlichack, Malba, Buenos Aires, Argentina.
- 2005: “Surface Charge”, curated by Gregory Volk y Sabina Russ, VCU Anderson Gallery, Richmond, Virginia. USA.
- 2005: “The Shadow”, Vestsjaeland Kunst Museum, Sorø, Denamrk.
- 2004: Lodz Bienale, Critic’s choice, Lodz, Poland.
Publications
- “Resplandores maravillosos o brillos inesperados,” por Victoria Verlichak, Revista Arte al Día #135, Junio 2011.
- “Juego de luces,” por Julio Sanchez, Diario La Nación, Suplemento ADN, Diciembre 2012.
- “Ensayo sobre la luz y el color,” por Ana Battistozzi, Diario Clarin, Revista ñ, Diciembre 2012.
- “Oda al color,” por Felisa Blaquier, Revista G7 #97, Julio 2012.
- “Influyentes e influidos,” por Eva Grinstein, Revista ArtNexus #72, Marzo/Abril 2009.
- “Los rayos misteriosos,” por Pola Oloixarac, Suplemento Radar, Página 12, Enero 2009 .
- “El ojo del que mira, artistas de los 90,” Victoria Verlichack, 1998.
- “Patrimonio,” Museo de Arte Modernos de Buenos Aires, 2012.
- “Intercambio Global.” Abstracción Geométrica desde1950, MACBA, Buenos Aires. 2012.
- “The Eyes, Sometimes, texto de Gregory Volk,” Alejandra Von Hartz Gallery, Miami, 2011.
- “Color on Color,” curado por Constanza Cerullo, Frost Art Museum y Macba, Miami, 2011.
- “SmART,” curado por Sonia Becce. Freedom Tower, Miami Dade College, Miami, 2010.
- “Poéticas Contemporáneas,” apuntes y aproximaciones, Fondo Nacional de las Artes, 2010.
- “Ensayos y Desvíos,” Fondo Nacional de las Artes, Bs. As., 2010.
- “7ma Bienal del Mercosur,” Grito e Escuta, Porto Alegre, Brasil, 2009.
- “Surface Charge,” texto de Gregory Volk y Sabine Russ. VCU Anderson Gallery, Richmond, US, 2005.
- “The Shadow,” texto de Christine Bhul Anderson. Vestsjaelland kunstmuseum, Sorø, Denmark, 2005.
- “Paintbox extensions,” texto de Anne Ring Petersen y Trine Møller Madsen Copenhagen, Denmark, 2004.
- “Paisaje doméstico,” texto de Eva Grinstein, Casa de América, Madrid España, 2002.
- “Karina Peisajovich,” texto de Eva Grinstein, Centro Cultural Borges, 1998.
Collections
- MACBA, Museo de Arte Contemporáneo de Buenos Aires, Argentina.
- MAMBA, Museo de Arte Moderno de Buenos Aires, Argentina.
- MACRO, Museo de Arte Contemporáneo de Rosario, Argentina.
- MAM, Miami Art Museum, Miami, USA.
- Karina Peisajovich, “Maquina de hacer color (suite de ocho movimientos)”, 2010, Installation, Variable dimensions. MACBA Collection and Sayago & Pardon Collection. Photo credit: Bruno Dubner
- Karina Peisajovich, “RGB/CMY”, 2011, Light projection on color pigment, Variable dimensions. Photo credit: Bruno Dubner
- Karina Peisajovich, “Lejos del Sol”, 2013, Installation, Variable dimensions, Site-specific project. Location: Centro Cultural San Martin, Bs. As. Photo credit: Bruno Dubner
- Karina Peisajovich, “Los Amantes”, 2012, Installation, Variable dimensions. Photo credit: Bruno Dubner
- Karina Peisajovich, “Sin título”, 2012, Sculpture, 40 x 35 x 65 cm. Colección Alec Oxenford y Marina Pellegrini. Photo credit: Bruno Dubner
- Karina Peisajovich, “Gradient ll”, 2012, Series: Gradients, Color pencil on paper, 1 x .70 m. Private Collection. Photo credit: Bruno Dubner
- Karina Peisajovich, “Gradient V”, 2013, Series: Gradients, Color pencil on paper, 2 x .60 m. Photo credit: Bruno Dubner
- Karina Peisajovich, “Gradient lV”, 2013, Series: Gradients, Color pencil on paper, 1.50 x 160 m. Sayago & Pardon Collection. Photo credit: Bruno Dubner
- Karina Peisajovich, “Teoría del color”, 2010/2012, Series: Teoría del color, Color pencil on paper, Variable dimensions. Miami Art Museum Collection.
- Karina Peisajovich, “Color Picker”, 2010, Frame with light, .90 x .50 m. Photo credit: Bruno Dubner
- Karina Peisajovich, “Lo que esta ahogado en la luz es el eco de lo que la noche ha sumergido (Ensayo de Situación)”, 2011, Installation, Variable dimensions, Sit-specific project. Location: Universidad Torcuato Di Tella. Photo credit: Bruno Dubner
- Karina Peisajovich, “Flotar”, 2007, Installation, Variable dimensions. Photo credit: Jorge Miño
- Karina Peisajovich, “Todas las imágenes del mundo”, 2006, Installation, Variable dimensions. Photo credit: Alejandro Lipzic
- Karina Peisajovich, “Lokalt Landskab”, 2005, Installation, Variable dimensions, Site-specific project. Location: Paintbox Extensions, Denmark.
- Karina Peisajovich, “Espuma”, 2000/2011, Installation, Variable dimensions. Colección Alec Oxenford
Translated from Spanish
Electricity is the foundation of my work. Thanks to it, sculptures and installations can be perceived, and at the same time understood in different levels of relationships with the space that surrounds them, with the encircling architecture, with their social context or with spectators that directly interact with the work in a physical and psychological way.
The work’s content is in part due to the experiences during the period of dictatorship in Chile (1973-1989). This was a period which exerted great violence, intimidation and misinformation on the citizens. This climate of social instability also made evident an alert in the face of the lack of connection between the real and the apparent.
In another level of relationships, the works have a dialogue with the history of design and modern art, subverting its formal purity with their social content. The works presented here use electricity as power source, with a broad meaning: the electrical lights that often celebrate or honor a situation, show here the other side of their luminosity, i.e., darkness and fear, as simultaneous homage to seduction and alienation.
La electricidad es la base fundamental de mi trabajo, gracias a ella las esculturas e instalaciones pueden ser percibidas y al mismo tiempo, comprendidas en distintos niveles de relaciones con el espacio que las rodea; con la arquitectura circundante, con su contexto social o con espectadores que interactúan directamente con el trabajo en forma física y psicológica.
El contenido de las obras, en parte se debe a experiencias vividas durante el periodo de dictadura en Chile (1973-1989). Periodo que ejerció gran violencia, intimidación y desinformación en la ciudadanía. Este clima de inestabilidad social también evidenció una alerta ante la evidente desconexión entre lo aparente y lo verdadero.
En otro nivel de relaciones, los trabajos mantienen un dialogo con la historia del diseño y del arte moderno, subvirtiendo su pureza formal con sus contenidos sociales.
Los trabajos aquí presentados, ocupan la electricidad como fuente de poder con un amplio significado: las luces eléctricas que muchas veces celebran o festejan una situación, aquí muestran el otro lado de su luminosidad, es decir, la oscuridad y el miedo. Como homenajes simultáneos a la seducción y a la alienación.
Selected Biographical Information
Education / Training
- 1991-1995: Licenciado en Artes Visuales, Mención Grabado, Pontificia Universidad Católica de Chile, Santiago, Chile.
Prizes / Fellowships
- 2009: Altazor, Premio Nacional a las Artes Visuales, Chile.
- 2007: Fondart, Fondo Nacional de Desarrollo Cultural y las Artes, Santiago, Chile.
- 2006: Beca Fundación Joan Mitchell, New York, USA.
- 2005: -A.S.A.P, Kamp Kippy, Maine, USA.
- 2002: Residencia Gasworks, Programa de Intercambio Cultural Gasworks, Londres, UK.
- 2002: -Fondart, Fondo Nacional de Desarrollo Cultural y las Artes, Santiago, Chile.
- 2001: Art OMI, Residencia Internacional de Artistas, New York, USA.
- 2001: Fondart, Fondo Nacional de Desarrollo Cultural y las Artes, Santiago, Chile.
- 2001: Fondart, Fondo Nacional de Desarrollo Cultural y las Artes, Santiago, Chile.
Solo Exhibitions
- 2014: “Past Imperfect”, Izolyatsia Foundation, Donetsk, Ukraine.
- 2014: “This Land is Your Land”, Madison Square Park, New York, USA.
- 2013: “Where is the Next War?”, Galerie Daniel Templon, Paris, France.
- 2012: “Iván Navarro: Fluorescent light Sculptures”, Frost Art Museum, Miami, USA.
- 2012: “Nacht und Nebel”, Fondazione VOLUME!, Rome, Italy.
Group Exhibitions
- 2013: “Light Show”, Hayward Gallery, London, UK.
- 2012: “Eleventh Havana Biennial”, Centro de Arte Contemporáneo Wifredo Lam, Havana, Cuba.
- 2012: “Neon–Who’s Afraid of Red, Yellow and Blue?”, La Maison Rouge, Paris, France.
- 2011: “Permanent Collection (Courtney Smith and Iván Navarro)”, ICA Boston, Boston, USA.
- 2010: “Cairo, International Biennale”, Cairo, Egypt.
Publications
- Lauson, Cliff. “Light Art: An Immaterial Material”, (exh cat), Edit. SouthBank Centre, Londres, Reino Unido, 2013
- Rosenberg, David. “Le Néon Dans L’art des Années 1940 à nos jours – Néon: Who’s afraid of red, yellow and blue?”, (exh cat), Edit. Archibooks et La mansion rouge, Paris, Francia, 2012.
- Herzberg, Julia P. “Rethinking the Possible – Iván Navarro, Fluorescent Light Sculptures” (exh cat), Edit. The Patricia & Phillip Frost Art Museum Universidad Internacional de Florida, Miami, USA, 2012.
- Saavedra, Ana María y Alarcón, Luis. “Galería Metropolitana 2004-2010…”, Pachamama, Iván Navarro + Hueso Records (exh cat), Edit. Galería Metropolitana, Santiago, Chile, 2011.
- Flores, Tatiana. “¡El espectador está iluminado!” (exh cat), Edit. Caja de Burgos, Burgos, España, 2010.
Additional Links
- Iván Navarro Frost Art Museum, Miami
- ¿Dónde es la próxima guerra?
- Iván Navarro y su faceta musical: “En Chile, la música es más interesante que el arte”
- Ivan Navarro – Nacht und Nebel
- L’intervista / Ivan Navarro
- Ivan Navarro, “Con Razón o sin ella (2)”, 2013, Serie: Where is the Next War?, Neon, wooden box, painting, mirror, transparent mirror and electricity, 48 x 48 x 10 in. (121.9 x 121.9 x 25.4 cm), Photo credit: Thelma García
- Ivan Navarro, “Contra el bien general (71)”,2013, Serie: Where is the Next War?, Neon, wooden box, painting, mirror, transparent mirror and electricity, 48 x 48 x 10 in. (121.9 x 121.9 x 25.4 cm), Photo credit: Thelma García
- Ivan Navarro, “Extraña Devoción (66)”, Serie: Where is the Next War?, Neon, wooden box, painting, mirror, transparent mirror and electricity, 48 x 48 x 10 in. (121.9 x 121.9 x 25.4 cm), Photo credit: Thelma García
- Ivan Navarro, “Eleven Upside Down (Colaboración Courtney Smith y Iván Navarro)”, 2007, Wood, plywood, fluorescent, mirror, transparent mirror and electricity, Cada componente: 24 x 16 x 16 in. (61 x 40.6 x 40.6 cm), Image courtesy of the artist
- Ivan Navarro, “Eleven Upside Down (Colaboración Courtney Smith y Iván Navarro)”, 2007, Wood, plywood, fluorescent, mirror, transparent mirror and electricity, Cada componente: 24 x 16 x 16 in. (61 x 40.6 x 40.6 cm), Image courtesy of the artist
- Ivan Navarro, “Death Row, 2006-2009”, Neon, aluminum doors, mirror, transparent mirror and electricity, 86 x 669 x 4 1/2 in. (218.4 x 1699.3 x 11.4 cm), Photo credit: Sebastiano Luciano
- Ivan Navarro, “Oido (Brick)”, 2012, Serie: Natch und Nebel, Neon, mirror, transparent mirror, bricks and electricity, 63 (diameter) x 31.5 in. (160 (diameter) x 80 cm), Fundación Volume!, Roma, Italia, Photo credit: Thelma García
- Ivan Navarro, “Natch und Nebel-Performance (Patricia Rivadeneira, Pedro Pulido y Iván Navarro)”, 2012, Serie: Natch und Nebel, Música – Performance, Neon, mirror, transparent mirror, bricks and electricity, Fundación Volume!, Roma, Italia, Photo credit: Thelma García
- Ivan Navarro, “The Armory Fence”, 2011, Neon, aluminum and electricity, Total 11 sections: 61 x 89 x 12 in. (154.9 x 226.1 x 30.5 cm), The Armory, NY, USA, Photo credit: David Cendros
- Ivan Navarro, “Reality Show (Black)”, 2010, LED, aluminum, wood, mirror, transparent mirrors and electricity, Photo credit: Thelma García
- Ivan Navarro, “The Great Lamp”, 1996, Light bulbs, electric cable, and electricity, 117.32 x 428.34 in. (298 x 1088 cm), Galería Gabriela Mistral, Santiago, Chile, Photo credit: Rodrigo Alvarez
- Ivan Navarro, “The Great Lamp”, 1996, Light bulbs, electric cable, and electricity, 117.32 x 428.34 in. (298 x 1088 cm), Galería Gabriela Mistral, Santiago, Chile, Photo credit: Rodrigo Alvarez
- Ivan Navarro, “The Hayward Fence”, 2013, Neon, aluminum structure and electricity, 86 x 118 x 7 in. (218.4 x 299.7 x 17.8 cm), Galería Hayward, Londres, Reino Unido, Photo credit: Marcus J Leith
- Ivan Navarro, “Untitled (Empire State)”, 2011, Serie: Heaven or Las Vegas, Neon, wood, paint, Plexiglas, mirror, transparent mirror and electricity, 57 x 119 x 10 in. (144.8 x 302.3 x 25.4 cm), Photo credit: David Cendros
- Ivan Navarro, “Untitled (Twin Towers)”, 2011, Serie: Heaven or Las Vegas, Neon, wood, paint, Plexiglas, mirror, transparent mirror and electricity, Tower 1: 8 x 57 3/4 x 57 3/4 in. (20.3 x 146.7 x 146.7 cm) Tower 2: 8 x 57 3/4 x 57 3/4 in. (20.3 x 146.7 x 146.7 cm), Photo credit: Thelma García
Translated from Spanish
My work derives from the critical analysis of spatial, social and economic conditions that shape our sense of identity and permanence. Thus, the fragility of the everyday, the symbolic and real meanings of property and the imminent transformation of the urban environment, are recurrent elements in my drawings, installations and interventions. More recent works extend these issues to the exhibition space, with the intention of pointing to the influence of the contemporary art market and the demands of the current exhibition models and the distribution of artworks in the artistic practice.
Mi trabajo se origina a partir de una reflexión crítica en torno a las condiciones espaciales, sociales y económicas que dan forma a nuestro sentido de identidad y permanencia. Así, la fragilidad de lo cotidiano, los significados tanto reales como simbólicos de la propiedad y la inminente transformación del entorno urbano figuran de manera recurrente en mis dibujos, instalaciones e intervenciones. Obras más recientes extienden estos cuestionamientos hacia los espacios de exhibición con la intención de señalar la influencia del mercado de arte contemporáneo y las exigencias de los modelos actuales de exposición y distribución de obras en la práctica del artista.
Selected Biographical Information
Education / Training
- 2008-2009: Center for Contemporary Art Kitakyushu, Research Program, Kitakyushu, Japan.
- 2005-2008: Bauhaus Universität Weimar, M.F.A. Art in Public Space, Weimar, Germany.
- 2001-2003: University of California San Diego, B.A. Visual Arts, La Jolla, USA.
Prizes / Fellowships
- 2009: Convocatoria de proyectos en espacio público Centro Abierto ’09, Museo de Arte de Lima + Centro Fundación Telefónica, Lima, Perú.
- 2008: Beca para producción de proyectos, ARTIUM Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain.
- 2007-2008: Beca para estudios de post-grado, Fundación Rosa Luxemburg, Berlín, Germany.
- 2006: Art in Context Programme, Pépiniéres europennés pour jeunes artistes, París, France.
Solo Exhibitions
- 2013: “Agotar el ámbito de lo visible”, Wu Galería, Lima, Perú.
- 2010: “C’est pas le Pérou”, Wu Ediciones, Lima, Perú.
- 2009: “Más lejos que Lima”, Ex-Espacio La Culpable, Lima, Perú.
- 2008: “Echar en falta un astro”, Museo de Arte Contemporáneo Lima, Perú.
- 2006: “Un metro cuadrado en algún rincón del mundo”, Centro Cultural del Matadero, Huesca, Spain.
Group Exhibitions
- 2013: “Tregua en el arenal”, Museo de Arte Contemporáneo-Lima, Lima, Perú.
- 2011: “Cut & Mix”, IFA Galerie, Berlin, Germany.
- 2011: “Atrabiliario”, XI Bienal de Cuenca, Cuenca, Ecuador.
- 2010: “La naturaleza de las cosas”, I Bienal de las Américas, Denver, USA.
- 2010: “We have as much time as it takes”, CCA Wattis Institute for Contemporary Art, San Francisco, USA.
Publications
- Miguel López, “Tregua en el arenal”, Museo de Arte Contemporáneo Lima (2013).
- Elida Román, El Comercio, (2013).
- Nicole Cromartie y Sharon Lerner (entrevista), Catálogo de la exposición “We have as much time as it takes”, CCA Wattis Institute for Contemporary Art (2010).
Collections
- Museo de Arte de Lima, Peru.
- Sandra Nakamura, “Agotar el ámbito de lo visible”, 2013, Variable Dimensions, Site-specific installation. Location: Wu Galería, Lima. Photo credit: Eduardo Hirose
- Sandra Nakamura, “Agotar el ámbito de lo visible”, 2013, Variable dimensions, Site-specific installation. Location: Wu Galería, Lima. Photo credit: Eduardo Hirose
- Sandra Nakamura, “Agotar el ámbito de lo visible”, 2013, Variable dimensions, Site-specific installation. Location: Wu Galería, Lima. Photo credit: Eduardo Hirose
- Sandra Nakamura, “That which folds into nothingness”, 2013, Artist book, ed. 60, 15 x 15 cm. Photo credit: Eduardo Hirose
- Sandra Nakamura, “A line in the water”, 2010, 8.3 x 4.2 m, Site-specific installation. Location: CCA Wattis Institute for Contemporary Art. Photo credit: Parker Tilghman
- Sandra Nakamura, “A line in the water”, 2010, 8.3 x 4.2 m, Site-specific installation. Location: CCA Wattis Institute for Contemporary Art. Photo credit: Parker Tilghman
- Sandra Nakamura, “Más lejos que Lima”, 2009, 3 x 3 m, Installation. Colección Museo de Arte de Lima. Photo credit: Ernesto Carozzo
- Sandra Nakamura, “Más lejos que Lima”, 2009, 3 x 3 m, Installation. Colección Museo de Arte de Lima. Photo credit: Ernesto Carozzo
- Sandra Nakamura, “untitled”, 2013, Chinese ink on vellum paper, 9 x 14 cm. Sayago & Pardon Collection
- Sandra Nakamura, “untitled”, 2013, Chinese ink on vellum paper, 15 x 20 cm. Sayago & Pardon Collection
- Sandra Nakamura, “untitled”, 2013, Chinese ink on vellum paper, 14 x 9 cm. Sayago & Pardon Collection
- Sandra Nakamura, “untitled”, 2013, Chinese ink on vellum paper, 15 x 20 cm. Sayago & Pardon Collection
- Sandra Nakamura, “untitled”, 2013, Chinese ink on vellum paper, 14 x 9 cm. Sayago & Pardon Collection
- Sandra Nakamura, “untitled”, 2013, Paper object and Chinese ink on vellum paper, 21 x 19 cm. Sayago & Pardon Collection
From CNN to the DNA, I focus my attention on reaching surfaces without the minor hope to get informed. Everyday, we are condemned to know more and understand less. This antiseptic process prefigures the first global semiotic indigestion. Reality collapses when one tries to portray an ocean by depicting drop after drop of water. My vision of the world is as precise as it is mistaken, and that is why I draw for hours with intense attention and no particular intention.
Traducido del inglés
De CNN al ADN, enfoco mi atención a alcanzar superficies sin la menor intención de estar informado. Todos los días estamos condenados a saber más y entender menos. Este proceso antiséptico prefigura la primera indigestión semiótica global. La realidad se colapsa cuando uno intenta representar un océano al ilustrar cada gota de agua. Mi visión del mundo es tan precisa como errada, y es por esto que dibujo por horas con intensa atención y sin particular intención.
Selected Biographical Information
Education / Training
- 1998: MFA, State University of New York, New Paltz, NY, USA.
Prizes / Fellowships
- 2012: XVII Premio Figari, Museuo Figari, Montevideo, Uruguay.
Solo Exhibitions
- 2012: Figari Prize XVII, Museo Figari, Montevideo, Uruguay
- 2012: “Functional Desinformation – drawings in Portuguese”, Instituto Tomie Ohtake, Sao Paulo, Brazil.
- 2012: “Lentissimo”, The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY, USA.
- 2012: Bienal de Cuenca, Ecuador.
- 2012: “No Idea”, Museum of Latin American Art, Long Beach, CA, USA.
- 2011: “Optimismo Radical”, NC-arte, Bogota, Colombia.
- 2011: “From Huguenot to Microwave”, Dorsky Museum, New Paltz, NY, USA.
- 2005: “El Papel Del Papel”, Centro Colombo Americano, Bogota, Colombia.
- 2003: “Construcciones & Demoliciones, dibujos en español”, Centro Cultural Reina Sofia, Montevideo, Uruguay.
- 2001: “Global Myopia”, Kemper Museum of Contemporary Art, Kansas City, MO, USA.
Group Exhibitions
- 2013: “MOCA’s Permanent Collection: A Selection of Recent Acquisitions”, Museum of Contemporary Art, Los Angeles, CA, USA.
- 2010: “Al calor del pensamiento, Works from the Daros LatinAmerica Collection”, Fundacion Banco Santander, Madrid, Spain.
- 2008: “New Perspectives in Latin American Art, 1930-2006: Selections from a Decade of Acquisitions”, Museum of Modern Art, New York, NY, USA.
- 2008: “Drawn to Detail”, DeCordova Museum and Sculpture Park, Lincoln, MA, USA.
- 2008: “WALL ROCKETS: Contemporary Artists and Ed Ruscha”, curated by Lisa Dennison, Flag Art Foundation, New York, NY, USA.
- 2006: “Off/Fora”, 29th Pontevedra Biennal, Pontevedra, Spain.
- 2006: “Gyroscope”, Hirshhorn Museum and Sculpture Garden, Washington D.C., USA.
- 2005: “Drawing From the Modern 1975-2005”, Museum of Modern Art, New York, NY, USA.
- 2003: “Vision & Revision: Works on paper since 1960”, Museum of Fine Arts, Boston, MA, USA.
- 2002: 25th Sao Paulo Biennial, Sao Paulo, Brazil.
Publications
- 2006: “100 Latin American Artists”, EXIT Publishers, Madrid, Spain.
- 2005: “Vitamin D: New Perspectives in Drawing”, Phaidon Press, New York, NY, USA.
- 2004: Gwangju Biennial, catalog, text by Marco Maggi.
- 2003: Havana Biennial, catalog, text by Ana Tiscornia.
- 2003: IV Mercosur Biennial, catalog, text by Gabriel Peluffo.
- 2003: “Construcciones & Demoliciones”, essay by Robert Hobbs, Centro Cultural Reina Sofia, Montevideo, Uruguay.
- 2002: Weintraub, Linda. “Being Gently Subversive”, In The Making: Creative Options for Contemporary Art, d.a.p. Sao Paolo Biennial, catalog, text by Marco Maggi.
- 2001: III Mercosur Biennial, catalog, text by Angel Kalemberg.
- 2001: “Marco Maggi: Global Myopia”, Text by Dana Self, Kemper Museum of Contemporary Art, Kansas City, MO, USA.
Collections
- Museum of Modern Art, New York, NY, USA.
- Museum of Contemporary Art, Los Angeles, CA, USA.
- Whitney Museum of American Art, New York, NY, USA.
- The Drawing Center, New York, NY, USA.
- Daros Foundation, Zurich, Switzerland.
- Hirshhorn Museum and Sculpture Garden, Washington DC, USA.
- Museum of Fine Arts, Boston, MA, USA.
- Fine Arts Museum of San Francisco, San Francisco, CA, USA.
- Walker Arts Center, Minneapolis, MN, USA.
- Syracuse University, Syracuse, NY, USA.
- Museum of Latin American Art, Long Beach, CA, USA.
- The Rachofsky House, Dallas, TX, USA.
- El Museo del Barrio, New York, NY, USA.
- The Judith Rothschild Foundation, New York, NY, USA.
- Cisneros Collection, New York, NY, USA.
- Indianapolis Museum of Contemporary Art, Indianapolis, IN, USA.
- Kemper Museum of Contemporary Art, Kansas City, MO, USA.
- San Jose Institute of Contemporary Art, San Jose, CA, USA.
Links
- Micro & Soft On Macintosh Apple – Marco Maggi e Ken Salomon, 2004 (cortesia Galeria Nara Roesler)
- Marco Maggi, Clip of “Untitled”
- Fuera de Marco- Out of Frame (2004)
- Marco Maggi: D Ream
- Parking Any Time
- By Disappointment Only
- Marco Maggi, “Hardware vs. Software”, 2013, Cuts and fold on fanfold card stock, 120 x 8 in. Image courtesy of the artist and Josee Bienvenu Gallery.
- Marco Maggi, “Global Myopia”, 2011, Cuts on surveillance mirror, Diameter 48 in. Image courtesy of the artist, Josee Bienvenu Gallery and Vassar College.
- Marco Maggi, “Blue, Red, Yellow, White Hotbed”, 2012, Cuts on paper, Variable dimensions, Site specific project. Location: Instituto Tomie Ohtake. Image courtesy of the artist, Josee Bienvenu Gallery and Instituto Tomie Ohtake.
- Marco Maggi, “Blue, Red, Yellow, White Hotbed”, 2012, Cuts on paper, Variable dimensions, Site specific project. Location: Instituto Tomie Ohtake. Image courtesy of the artist, Josee Bienvenu Gallery and Instituto Tomie Ohtake.
- Marco Maggi, “Color Dash”, 2012, Cuts on paper in 35mm slide mounts, Variable dimensions, Site specific project. Location: Instituto Tomie Ohtake. Image courtesy of the artist, Josee Bienvenu Gallery and Instituto Tomie Ohtake.
- Marco Maggi, “Yellow Sliding”, 2011, Cuts on paper in 35mm slide mounts, 36 x 36 in. / 37 x 37 in. framed. Image courtesy of the artist and Josee Bienvenu Gallery.
- Marco Maggi, “El Papel Del Papel”, 2005, Cuts on paper, Variable dimensions, Site specific project. Location: Centro Colombo Americano. Image courtesy of the artist, Josee Bienvenu Gallery and Centro Colombo Americano.
- Marco Maggi, “El Papel Del Papel” (detail), 2005, Cuts on paper, Variable dimensions, Site specific project. Location: Centro Colombo Americano. Image courtesy of the artist, Josee Bienvenu Gallery and Centro Colombo Americano.
- Marco Maggi, “Micro & Soft on Macintosh Apple”, 2004, video of 04:01 min. Location: Museum of Modern Art. Image courtesy of the artist, Josee Bienvenu Gallery and Museum of Modern Art.
- Marco Maggi, “Fast Viewer”, 2008, Pencil on Yupo, Triptych: 20.75 x 50.25 in, 20.75 x 16.75 in framed. Image courtesy of the artist and Josee Bienvenu Gallery.
- Marco Maggi, “Fast Viewer” (Detail), 2008, Pencil on Yupo, Triptych: 20.75 x 50.25 in, 20.75 x 16.75 in framed. Image courtesy of the artist and Josee Bienvenu Gallery.
- Marco Maggi, “Turner Box: Complete Coverage on Oiticica 1 (metaesquema)”, 2012, Cuts on 500 pages, plexiglas, 8x8x2 in. Image courtesy of the artist and Josee Bienvenu Gallery.
- Marco Maggi, “400 Instant Messages”, 2013, Cuts on 400 white on white envelopes, 38 x 38 inches, 48 x 48 inches framed. Image courtesy of the artist and Josee Bienvenu Gallery.
- Marco Maggi, “Stacking Quotes (Warhol yellow Brillo & blue, red and white Brillo)”, 2013, Brillo stickers on 7 letter size Cachet notebooks, 6 x 11 x 8.5 inches. Image courtesy of the artist and Josee Bienvenu Gallery.
- Marco Maggi, “Installation view of by disappointment only”, 2007. Site specific project. Location: Josee Bienvenu Gallery. Image courtesy of the artist and Josee Bienvenu Gallery
Translated from Spanish
I am interested in the relationship between culture and nature. My work consists in manipulating everyday materials by questioning the mechanisms of perception through which we understand the world.
Me interesa la relación entre cultura y naturaleza. Mi trabajo consiste en manipular materiales cotidianos cuestionando los mecanismos perceptivos a través de los cuales comprendemos el mundo.
Selected Biographical Information
Education / Training
- 1997-1999: Escuela de Arte Nº2 , Mercedes, Bs. As., Argentina.
- 2003:2004: Clínica de obra con Pablo Siquier, BA, Argentina.
- 2007: Programa de Tutorías Artes Visuales, Centro Cultural Ricardo Rojas- UBA, BA.
- LIPAC (Laboratorio de Investigación en Prácticas Artísticas Contemporáneas).
- 2008: Centro Cultural Ricardo Rojas- UBA, BA.
Prizes/Fellowships:
- 2014: Beca Nacional Medios Audiovisuales , Fondo Nacional de las Artes (FNA), Buenos Aires , Argentina.
- 2014: Beca de Intercambio Cultural entre Colombia y Argentina. Residencia Lugar a dudas, Cali, Ministerio de Cultura de Colombia y Ministerio de Cultura de Argentina, Cali, Colombia.
- 2013: Beca Residencia en la Antártida, Dirección Nacional del Antártico (DNA), Base Esperanza, Antártida, Argentina.
- 2013: Premio Adquisición Igualdad Cultural, Secretaría de Cultura de la Nación, BA, Argentina.
- 2012: SITA, Sitios Tangentes III, Concurso de Intervenciones Públicas, S. M. de Tucumán, Argentina.
- 2011: Premio Itaú Cultural, BA (3º premio).
- 2010: SITA, Sitios Tangentes II, Concurso de Intervenciones Públicas, S. M. de Tucumán, Argentina.
- 2010: Beca Residencia en San Javier, Museo Castagnino y Museo de Arte Contemporáneo de Rosario, Rosario, Argentina.
Solo Exhibitions
- 2015: “La forma promiscua“, Centro Cultural Recoleta, Buenos Aires, Argentina.
- 2011: “Móvil recurrente”, RO Galería de Arte, Argentina.
- 2009: “Pulso Variable”, Oficina Proyectista, BA, Argentina.
- 2008: “Delta”, Complejo Cultural Carlos Marín, Mercedes, BA, Argentina.
- 2006: “Trama”, Appetite Galería de Arte Contemporáneo, BA, Argentina.
- 2005: “Tiempo en unidades”, Casona de los Oliveras, BA, Argentina.
Group Exhibitions
- 2013: “Premio Igualdad Cultural“, Casa del Bicentenario, Buenos Aires, Argentina.
- 2013: “Matrix/Collective Memory”, Black Square Gallery, Miami, USA.
- 2012: “Sobre el espacio y sus continuidades”, Casa de la Cultura, Fondo Nacional de las Artes, BA, Argentina.
- 2011: “Residencia San Javier”, Museo de Arte Contemporáneo de Rosario (MACRO), SF, Argentina.
- 2011: “Back To Back/ La Copia Infiel”, videos, Museo de Arte Contemporáneo (MAC), Salta, Argentina.
- 2010: “Elementos”, Fundación Esteban Lisa-Mapa Líquido Nómade, BA, Argentina.
Publications
- 2013: Desplegar la mirada, Hebe Miriam Roux, Editorial Biblos, BA.
- 2012: Sculpture Magazine, por M. Carolina Baulo, Vol. 31 nº 2, págs., 42, 43, 44, 45, Marzo.
- 2011: Residencia en el Mundo, Castagnino-MACRO, R. Echen e/ otros, Rosario, SF.
- 2005: La Espera, editorial CONTENTOTRAVEZ, BA.
Collections
- Museo Provincial Bellas Artes Emilio Caraffa, Córdoba, Argentina.
- Sayago & Pardon, CA, USA.
- Fundación Itaú Cultural, Buenos Aires, Argentina.
Links
- La forma promiscua
- Premio Itau
- Unión física y provisoria entre la Oficina Proyectista y el FNA (2011), video
- International Sculpture Center
- Camilo Guinot, “S/T”, 2009, Diameter 15.75 in. (40 cm). Image courtesy of the artist
- Camilo Guinot, “Progresión exponencial según las cualidades físicas de un elemento”, 2010-2011, Glued matches and polyurethane lacquer, 33.46 x 33.46 x 23.62 in. (85 x 85 x 60 cm). Image courtesy of the artist
- Camilo Guinot, “E20”, 2013, 18.5 x 15.75 x 1.58 in. (47 x 40 x 4 cm). Image courtesy of the artist
- Camilo Guinot, “S/T”, 2013, Glued matches, wood and water-based lacquer, 47.24 x 32.68 in. (120 x 83 cm). Image courtesy of the artist
- Camilo Guinot, “S/T”, 2005, Series: 5, Glued matches, Diameter 3.93 in. (10 cm). Image courtesy of the artist
- Camilo Guinot, “Diagonal por carbonización”, 2005-2009, Burned matches and lacquer, 31.5 x 7.88 in. (80 x 20 cm). Private Collection, Mexico. Image courtesy of the artist
- Camilo Guinot, “EStruk3”, 2006, Wood and synthetic lacquer, 29.52 x 23.62 x 22.04 in. (75 x 60 x 56 cm). Private collection, Miami. Image courtesy of the artist
- Camilo Guinot, “e15”, 2010, Glued matches and lacquer, Diameter 18.11 in. (46 cm). Image courtesy of the artist
- Camilo Guinot, “Estruk4”, 2006, Wood and lacquer, 16.14 x 14.56 x 1.18 in. (41 x 37 x 3 cm). Private collection, BA. Image courtesy of the artist
- Camilo Guinot, “S/T”, 2007-2010, Graphite on canvas and varnish, 45.66 x 55.9 in. (116 x 142 cm). Image courtesy of the artist
- Camilo Guinot, “D010”, 2010, Ink on paper, 7.87 x 11.81 in. (20 x 30 cm). Image courtesy of the artist
- Camilo Guinot, “Conversación alrededor del tiempo y el lugar de las cosas”, 2003, Bones, wire, tanza, lighst, metal pipe, cable, paper, latex, shadows and sound, Diameter 118.11 in. (3m), Site specific project. Location: Complejo Cultural Carlos Marín, Mercedes, BA. Photo credit: Ariel Lipsick
- Camilo Guinot, “Delta”, 2008, Twigs, adhesive tape, chairs and plastic bottles, Variable dimensions, Site specific project. Location: Complejo Cultural Carlos Marín, Mercedes, BA. Photo credit: María Milessi
- Camilo Guinot, “bicho”, 2010, Caines, packing tape, 196.85 x 157.48 x 98.42 in. (5 x 4 x 2.5 cm). Site specific project. Location: Residencia San Javier, Museo Castagnino-MACRO, Rosario, Santa Fé. Image courtesy of the artist
- Camilo Guinot, “S/T”, 2009-2010, Series: 2, Glued matches on MDF and acrylic, 47.24 x 32.28 in. (120 x 82 cm). Sayago & Pardon Collection and Private Collection, BA. Image courtesy of the artist
Translated from Spanish
Entropy Five hundred four thousand nine hundred and fifty three tons on the lifeless gesture that knows that nothing justifies waking up from a good dream. What it is doesn’t matter. What could have happened, neither. If I could give form to pain, everything would be easier. Pain is ancient, wise, and selfish; pain is born, grows up, travels and expands. It is liquid that copies the shape of the body. It was enemy due to my stubbornness, for not understanding that the question was not why walls exist but how to go through them. Now it is my accomplice and my faithful ally. Now it is noise, dissatisfaction, and hope. The polyhedron will triggers any structure; that is why I look for the shape on the wall that never understood limits, the whisper of the corner that does not like angles, the collapse of the ceiling that denied responsibility. Since I do not know where to start, I shake off the lethargy and erase distrust. The strategy is to withdraw, mix up in the dreams, simplify them and get lost in the trip. Meditate, edit myself and neglect order. I followed the advice and grazed the surface one time after another, looking for the spirit of things. When I find something I will notice. When I lose faith I will too. My hands are precise but I am not, that is why when I squirm hoping not to get lost in the instant, I focus on the space of the body, in the weight of the noise, in the breathing, in the chaotic energy of the continuing present. My nation follows me, it has the shape and the size of my foot. If I could float, even if it is a little bit more, I would abandon the ground for a while, like that nail that got buried looking for sunlight during the night. I want to—if I could—last in the instant that divides dreaming from waking up. It is there where everything weighs the same. I want to—if I could—be the horizontal that looks for elevation: verticality is what tends to fall.
Entropía Quinientas noventa y cuatro mil novecientas cincuenta y tres toneladas sobre el gesto inerte que sabe que nada justifica despertar de un buen sueño. Lo que era no importa, lo que pudo ser tampoco. Si pudiera darle forma al dolor sería todo más fácil. El dolor es anciano, sabio, egoísta; el dolor nace y crece y viaja y se expande. Es líquido que copia el contorno del cuerpo. Fue enemigo por mi necedad, por no entender que la pregunta no era por qué existen los muros, sino cómo atravesarlos. Ahora es mi cómplice y mi fiel aliado. Ahora es ruido, es descontento y esperanza. La voluntad poliédrica detona cualquier estructura, por eso busco la forma de la pared que nunca entendió de límites, el suspiro del rincón que no soporta los ángulos, el derrumbe del techo que rechazó la responsabilidad. Como no sé por dónde empezar, me sacudo el letargo y borro el recelo. La estrategia es replegarme, revolver en los sueños, simplificarlos y perderme en el viaje, meditar, editarme y descuidar el orden. Seguí el consejo y rocé la superficie una y otra vez buscando el espíritu de las cosas. Cuando encuentre algo aviso. Cuando pierda la fe también. Mis manos son precisas pero yo no, por eso mientras me retuerzo deseando no perderme el instante, me concentro en el espacio del cuerpo, en el peso del ruido, en la forma de la respiración, en la energía caótica del presente continuo. Mi patria me sigue, tiene la forma y el tamaño de mi pie. Si pudiera flotar, aunque sea un poco más, abandonaría el suelo por un rato, como ese clavo que se hundió buscando la luz del sol durante la noche. Quiero -si pudiera- perdurar en el instante que divide el sueño del despertar: es ahí donde todo pesa lo mismo. Quiero -si pudiera- ser horizontal que busca elevación: es la verticalidad la que tiende a caer.
Selected Biographical Information
Education / Training
- 2001: Estudió la carrera de Profesor de Pintura en la ENBAPP (Escuela Nacional de Bellas Artes Prilidiano Pueyrredón). Titulado, Buenos Aires, Argentina.
- 1998: Estudió arquitectura en la FADU (Facultad de Arquitectura, Diseño y Urbanismo), Universidad de Buenos Aires, Argentina.
Prizes / Fellowships
- 2013: Participó de las residencias del Bemis Center of Contemporary Art, Nebraska; y de Skowhegan School of Painting and Sculpture, Skowhegan, Maine, USA.
- 2011: Fue Becario del SITAC (Simposio Internacional de Teoría y Arte Contemporáneo), Mexico City, Mexico.
- 2010: Fue Becario del Centro de Investigaciones, Buenos Aires, Argentina.
- 2010: Premio estímulo del jurado del Salón de Pintura Uade, Buenos Aires, Argentina.
- 2004/05: Seleccionado en el Premio ArteBA, Petrobrás, Buenos Aires, Argentina.
Solo Exhibitions
- 2013: “Ruin is Abstraction”, VoltaNY, New York, USA.
- 2012: “Temporada de Plomo”, Galería Arróniz Arte Contemporáneo, Mexico City, Mexico.
- 2012: “Partir”, Museo de Arte Moderno de Buenos Aires, Buenos Aires, Argentina.
- 2010: “Paralelo Inmenso”, Dot Fiftyone Gallery, Miami, USA.
- 2009: “Entropía”, Galería Arróniz Arte Contemporáneo, Mexico City, Mexico.
- 2008: “AQUULA”, LaboHO Galerie, Marsella, France.
Group Exhibitions
- 2013: “Ser o no Sur”, Museo José Luis Cuevas, Mexico City, Mexico.
- 2013: “Panorámica, Paisaje 2013-1969”, Museo del Palacio de Bellas Artes, Mexico City, Mexico.
- 2012: “Últimas Tendensias II”, Museo de Arte Moderno de Buenos Aires, Buenos Aires, Argentina.
- 2012: “Lo común y lo colectivo”, Galería Libertad, Querétaro, Mexico
- 2008: “Paper Trail V.5”, Judi Rotenberg Gallery, Boston, USA.
- Mauro Giaconi, “VOLVER A GIRAR”, April 26th-July 15th, 2013, Graphite, eraser, electric sander, thinner, and multipurpose liquid cleaner on wall, Variable dimensions, Site specific project. Location: Museo del Palacio de Bellas Artes, Mexico. Image courtesy of the artist.
- Mauro Giaconi, “VOLVER A GIRAR” (detail), April 26th-July 15th, 2013, Graphite, eraser, electric sander, thinner, and multipurpose liquid cleaner on wall, Variable dimensions, Site specific project. Location: Museo del Palacio de Bellas Artes, Mexico. Image courtesy of the artist.
- Mauro Giaconi, “SENTENCIA INCOMPLETA”, 2013, Graphite, sponge and multipurpose liquid cleaner on canvas, Variable dimensions. Image courtesy of the artist.
- Mauro Giaconi, “NACIMIENTO”, 2013, Graphite, wood and eraser, Variable dimensions. Image courtesy of the artist.
- Mauro Giaconi, “DESGARRAR”, 2013, Graphite and eraser on wood panels. Image courtesy of the artist.
- Mauro Giaconi, “SI PUDIERA FLOTAR”, 2013, Graphite, eraser, electric sander, thinner, and multipurpose liquid cleaner on MDF panels, Variable dimensions. Image courtesy of the artist.
- Mauro Giaconi, “TEMPORADA DE PLOMO”, September-October 2012, Graphite, eraser, electric sander, thinner, and multipurpose liquid cleaner on wall, Variable dimensions, Site specific project. Image courtesy of the artist.
- Mauro Giaconi, “PARTIR”, 2012, Graphite, eraser, electric sander on wall, 270 X 350 CM. Location: Museo de Arte Moderno de Buenos Aires. Image courtesy of the artist.
- Mauro Giaconi, “A METROS DEL BUFALO”, 2012, Graphite and eraser on paper, 270 x 350 cm. Image courtesy of the artist.
- Mauro Giaconi, “ENTROPÍA”, 2009, exhibition view. Photo credit: Galería Arróniz Arte Contemporáneo, Mexico
- Mauro Giaconi, “PARALELO INMENSO”, 2010, Installation, 500 x 500 x 300 cm. Image courtesy of the artist
- Mauro Giaconi, “Paisaje Romboidal”, 2011, Graphite and eraser on paper, 270 x 1215 cm. Image courtesy of the artist.
- Mauro Giaconi, “MURAL ALMAMBRADO”, 2008, Graphite on 500 book pages, 280 x 750 cm. Image courtesy of the artist.
- Mauro Giaconi, “CARPA”, 2008, Camping tent and brick wall, 350 x 350 x 230 cm. Image courtesy of the artist
Extract from: Alma Ruiz, “Interview with Artist” in Jose Falconi, ed. A Singular Plurality: The Works of Darío Escobar. Cambridge, MA: Department of History of Art and Architecture, Harvard University, 2013, pp. 331-345. “I am very interested in the ideas of Benjamin H. D. Buchloh, which seem to me quite accurate as they relate to contemporary art: sculpture as a cross between an industrial object and a monument within the fine arts tradition. I’m very interested in analyzing the relationship between production and consumption, especially in these times in which objects are mass produced, and in their production in factories, individuals alienate themselves from the items: they distance themselves, but they are then reconciled in the exercise of purchase/consumption. However, to incorporate the object into an aesthetic operation, such as art, leads us to a narrower and more revealing space for reflection—it does not simply place the object within these mechanical operations of manufacturing and buying.” (…) “My interest in the pre-Hispanic past actually lies in the question of form, and I take this as a pretext to investigate the major issues that informed art in these lands for centuries. When I made these works, (Kukulkán I, 2007; and the series Quetzalcóatl II, III, etc.) I was really excited to discover a sculptural model that would show certain qualities that traditional sculpture doesn’t show, and one of these factors was the behavior of the material. I was interested in starting to work with light, with shadows, and with materials that move freely without obeying the forms that I give them as a sculptor. It was a true exercise in freedom. I thought this idea was touched upon in some way in pre-Hispanic architecture with the shadows that form on staircases… I’ve always been particularly interested in archeology as well.”
Traducido del inglés
Fragmento de: Alma Ruiz, “Interview with Artist” in Jose Falconi, ed. A Singular Plurality: The Works of Darío Escobar. Cambridge, MA: Department of History of Art and Architecture, Harvard University, 2013, pp. 331-345. “Me interesan mucho las ideas de Benjamin H. D. Buchloh, las cuales me parecen bastante acertadas ya que se refieren al arte contemporáneo y a la escultura como una mezcla entre objeto industrial y un monumento dentro de la tradición de las bellas artes. Me interesa analizar la relación entre producción y consumo, especialmente en estos tiempos en los que los objetos son producidos en masa y debido a su producción es de fábrica los individuos se apartan de ellos. Toman distancia, pero se reconcilian en el ejercicio de compra y consumo. No obstante, al incorporar el objeto dentro de una operación estética como lo es el arte, nos lleva a un espacio de reflexión más estrecho y revelador. No pone al objeto simplemente dentro de estas operaciones mecánicas de manufactura y compra”. “Mi interés en el pasado prehispánico radica en la cuestión de la forma y lo tomo como pretexto para investigar los temas importantes que informaron el arte desde estas tierras por siglos. Cuando realicé estas obras (Kukulkán I, 2007, y la serie Quetzalcóatl II, III, etc.) me entusiasmó descubrir un modelo escultórico que mostraba ciertas cualidades que la escultura tradicional no muestra y uno de estos factores fue el comportamiento del material. Me interesaba comenzar a trabajar con la luz, con las sombras y con materiales que se mueven libremente sin obedecer las formas que les doy como escultor. Fue un verdadero ejercicio de libertad. Pensé que esta idea se abordó de alguna manera en la arquitectura prehispánica con las sombras que se forman en las escalinatas… Siempre he tenido un interés particular por la arqueología también.
Selected Biographical Information
Education / Training
- 1996: Arquitectura, Universidad Rafael Landivar, Ciudad de Guatemala, Guatemala.
Solo Exhibitions
- 2013: “Ultitled”, Kamel Mennour Galerie, Paris, France.
- 2013: “Dario Escobar/ Blacksmith Project”, Josée Bienvenu Gallery, New York, USA.
- 2012: “Dario Escobar / La experiencia del objeto” (MAC) Museo de arte Contemporáneo de Santiago, Santiago de Chile, Chile.
- 2012: “Dario Escobar: Singular/Plural” (SCAD) Museum of Art, Savannah, Georgia / (SCAD) Atlanta – Gallery 1600, Atlanta, Georgia, USA.
- 2012: “Dario Escobar / trabajo reciente” Baró Galeria, São Paulo, Brazil.
- 2011: “Dario Escobar / Revisión” Museo Nacional de Arte Moderno Carlos Mérida, Ciudad de Guatemala, Guatemala.
- 2010: “Side and Back”, Kamel Mennour Galerie, Paris, France.
- 2010: “Anverso y Reverso”, González y González, Santiago de Chile, Chile.
- 2008: “Playoffs” Josee Bienvenu Gallery, New York, USA.
- 2007: “La Línea Interrumpida”, (CCM) Centro Cultural Metropolitano, Ciudad de Guatemala, Guatemala.
- 2007: “Dario Escobar/Project room”, Rotunda Gallery, Brooklyn, New York, USA.
- 2006: “Objetos en Transito”, Sala Gasco, Santiago de Chile, Chile.
- 2005: “Serpentario”, (CCEG) Centro Cultural de España Guatemala, Ciudad de Guatemala, Guatemala.
Group Exhibitions
- 2013: “Inaugural Exhibition”, The Pizzutti Collection, Columbus, Ohio, USA.
- 2013: “California-Pacific Triennial”, (OCMA) Orange County Museum of Art, Newport Beach, California / (CC) Coastline Community college Art Gallery, Newport Beach, California, USA.
- 2013: “Y…¿entonces? / and..so?”, the 9.99, Ciudad de Guatemala, Guatemala.
- 2012: “The Island / A game of life”, Gallery One, Manarat al Saadiyat, Abu Dhabi, UAE.
- 2011: “Now” (Selección de obras de La Colección Jumex) Instituto Cultural Cabañas, Guadalajara, Mexico.
- 2011: “From the recent PAst: New Acquisitions” (MOCA) The Museum of Contemporary Art, Los Angeles, California, USA.
- 2009: “Los Impoliticos”, (PAN) Palazzo delle Arti Napoli, Naples, Italy.
- 2009: “Périfériks”, (CAN) Centre D’art Neuchâtel, Switzerland.
- 2009: “Mundus Novus: 53 Bienal Internacional de Venecia”, Artiglerie dell’Arsenale, Venecia, Italy.
- 2008: “Playtime”, Bétonsalon / Centre d’art et de recherche, Paris, France.
- 2007: “The Hours: Visual Arts of Contemporary LAtin America”, Museum of Contemporary Art, Sydney, Australia.
- 2001: “Short Stories”, La Fabbrica del Vapore, Milán, Italy.
- 2001: “I Tirana Biennial”, National Gallery & Chinese Pavilion, Tirana, Albania.
Publications
- 2012: Book. A singular plurality: the works of Dario Escobar. Ed. Department of History of Art and Architecture, Harvard University. Cambridge, Massachusetts.
Collections
- Daros Latinamerica, Zurich, Switzerland.
- Blanton Museum of Art, Austin, TX, USA.
- Nasher Museum of Art, Durham, NC, USA.
- MOLAA Museum of Latin American Art, Long Beach, CA, USA.
- MOCA, Los Angeles, CA, USA.
- CIFO – Cisneros Fontanals Art Foundation, Miami, FL, USA.
- El Museo del Barrio, New York City, NY, USA.
- Pizzuti Collection Fundación/Colección Jumex, México D.F., Mexico.
- MADC Museo de Arte y Diseño Contemporáneo, San José, Costa Rica.
- MAC Museo de Arte Contemporáneo de Santiago de Chile, Santiago de Chile, Chile.
Links
- El guatemalteco Darío Escobar participa en la feria de arte Pinta, en Londres Darío Escobar y sus exaltaciones piadosas
- Art is my Business – Solo Show
- Conectaarte blog post on Darío Escobar
- Darío Escobar’s portrait for the Venice Biennale themed issue of this Italian fashion glossy.
- La Experiencia del Objeto.
- Darío Escobar en el MAC
- The Island-A Game of Life
- Darío Escobar: trabalhos recentes
- MALI Uno a Uno: Darío Escobar y José Falconí
- Baró Galería – Arsenal
- Instalación conceptual ‘Obverse & Reverse’ de Darío Escobar
- Dario Escobar, “Kukulkán II”, 2009, Series: Kukulkan, Vulcanized rubber and steel, Variable dimensions (maximum dimensions 220 cubic meters / 660 cubic feet), Site specific project. Location: Kamel mennour, Paris, France. Photo credits: Jorge Mazariegos. Image courtesy of the artist and Kamel mennour, Paris
- Dario Escobar, “Kukulkán II”, 2009, Series: Kukulkan, Vulcanized rubber and steel, Variable dimensions (maximum dimensions 220 cubic meters / 660 cubic feet), Site specific project. Location: Kamel mennour, Paris, France. Photo credits: Jorge Mazariegos. Image courtesy of the artist and Kamel Mennour, Paris
- Dario Escobar, “Escultura Transparente No.1″ [Transparent sculpture No.1], 2012, Dario Escobar, Series: Esculturas transparentes, Wood, rubber and steel, Variable dimensions, (dimensions of the room 8 x 12 x 6 meters- 315 x 472 1/2 x 236.25”) Site specific project. Location: Modulo I Colección del Museo de Arte Contemporáneo de Santiago de Chile MAC, Santiago de Chile, Chile. Photo credits: Jorge Brantmayer. Image courtesy of the artist and Kamel mennour, Paris y González & González, Santiago de Chile, Chile.
- Dario Escobar, “Escultura Transparente No.1″ [Transparent sculpture No.1] (detail), 2012, Series: Esculturas transparentes, Wood, rubber and steel, Variable dimensions, (dimensions of the room 8 x 12 x 6 meters- 315 x 472 1/2 x 236.25”) Site specific project. Location: Modulo I Colección del Museo de Arte Contemporáneo de Santiago de Chile MAC, Santiago de Chile, Chile. Photo credits: Jorge Brantmayer. Image courtesy of the artist and Kamel mennour, Paris y González & González, Santiago de Chile, Chile.
- Dario Escobar, “Obverse & Reverse”, 2010, Series Obverse & Reverse, Leather, latex, steel and string, Variable dimensions, 6 x 3.99 x 3.99 M – 236 1/4 x 157 1/2 x 157 1/2”, Site specific project. Location: Pizzuti Collection, Columbus, Ohio. Photo credits: Isaac Martínez. Image courtesy of the artist and Josée Bienvenu Gallery, New York
- Dario Escobar, “Juego Doble” [Double Game], 2005, Iron, paint, string, plastic and rubber, Variable dimensions (Maximum length 5 M / 192″). Fundación/Colección Jumex, Ecatepec, Mexico D.F. Photo credits: Rodolfo Walsh. Image courtesy of the artist and Fundación / Colección Jumex, Ecatepec, Mexico
- Dario Escobar, “Untitled”, 2005, Wood, urethane, and steel. Variable dimensions (Maximum dimensions 140 x 100 x 60 cm – 55 1/8 x 39 3/8 x 23 5/8″). Fundación/Colección Jumex, Ecatepec, Mexico D.F. Photo credits: Dario Escobar Studio. Image courtesy of the artist and the Fundación/Colección Jumex, Ecatepec, Mexico D.F.
- Dario Escobar, “Urban Landscape”, 2011, Landscapes Series, Polychromed wood, 162.5 x 176 x 79 cm / 64″ x 69 1/2″ x 31″. Josée Bienvenu Gallery, New York. Photo credtis: Enrique Lopez-Campang. Image courtesy of the artist
- Dario Escobar, “Crash N¼. VII”, 2010, Series: Crash, Chromed iron and steel, Dimensions 150 x 80 x 59.7 cm / 59″ x 31 1/2″ x 23 1/2″. The 9.99 Gallery, Ciudad de Guatemala. Photo credits: Andrs Asturias. Image courtesy of the artist and Private collection, Guatemala City, Guatemala.
- Dario Escobar, “Geometric Construction Nº. 2″, 2012, Series: Construcciones Geométricas, Wood, iron, and paint, 316 x 175.4 x 53.4 cm / 124 3/ 8″ x 69 7/8″ x 21 5/8”. Centre Charles Pompidou, Paris, France. Photo credit: José Enrique López–Campang. Image courtesy of the artist and Centre Pompidou Foundation.
- Dario Escobar, “Abstract Painting No. 1”, 2012, Series: Abstract Paintings, Primed linen and paint, 170 x 120 cm (66 15/16 x 47 1/4 in). Sayago Pardon Collection, California. Photo credit: Andrés Asturias
- Dario Escobar, “Abstract Painting No. 10″, 2012, Dario Escobar, Series: Abstract Painting, Primed linen and paint, 170 x 245 cm (66 15/16 x 96 1/2”). The 9.99 Gallery, Ciudad de Guatemala. Photo credit: Andrés Asturias
- Dario Escobar, “Silent Drawing No. 11”, Series: Silent Drawings, Paper end pages, 80 x 120 cm. – 31 1/2 x 47 1/4”. The 9.99 Gallery, Ciudad de Guatemala. Image courtesy of the artist
- Dario Escobar, “Silent Drawing No. 11” (detail), Series: Silent Drawings, Paper end pages, 80 x 120 cm. – 31 1/2 x 47 1/4”. The 9.99 Gallery, Ciudad de Guatemala. Image courtesy of the artist
- Dario Escobar, “Sin título” (Untitled), 2005, Series: Sin título (Untitled), Used motor oil and cotton paper, 70 x 50 cm – 27 1/2 x 19 11/16”. Colección / Fundación Jumex, Ecatepec, México D.F. Photo credit: Estudio Dario Escobar
Translated from Spanish
In the current development of my work, I’ve seen necessary to incorporate physical and concrete objectual elements so they dialogue directly with the walls and floors in spaces of determinate spaces, pursuing a more architectural ideal more adapted and articulated to the exhibition space. I am interested on encountering the space by creating spatial and formal connections with the shadows and their materiality, subjecting the surfaces and physical limits of the space, unlimiting it formally, visually and perceptively.
In some cases, I work with a series of “objectual pieces,” consisting of basic geometric elements: volumes, planes and lines made with simple materials, to continue with the idea of space as protagonizer, beyond the materiality of the forms. To develop them I use linear forms of stainless steel, aluminum or carbon fiber, and other materials such as acrylic and woods. Some of the works are constructed in modules so they can adapt to different exhibition spaces and so that I can make combinations subject to the space where they would finally be placed at. This series of works that I have been producing, are an account of my most current analysis about the unlimited possibilities that the space offers as support to the work, as a constructive tool.
En el desarrollo actual de mi trabajo he visto necesaria la incorporación de elementos físicos y objetuales concretos para que dialoguen directamente con muros y pisos en ángulos de determinados espacios persiguiendo una idea más arquitectónica, más acoplada y articulada al espacio expositivo. Me interesa salir al encuentro del espacio estableciendo vínculos espaciales y formales con las sombras y las materialidades de las mismas subjetivizando las superficies y fronteras físicas del espacio, ilimitándolo formal, visual y perceptivamente.
En algunos casos, trabajo con una serie de “piezas objetuales” conformadas por elementos geométricos básicos: volúmenes, planos y líneas elaborados en materiales simples, para continuar con la idea del espacio como materia protagónica más allá de la materialidad de las mismas. Para su desarrollo utilizo formas lineales y planas de acero inoxidable, aluminio ó fibra de carbono, así como también materiales como el acrílico y madera de diferentes calidades.
Algunas de las obras son construídas en módulos de modo de poder adaptarse a diferentes espacios expositivos y para permitirme realizar con ellas combinaciones supeditadas al espacio donde serán finalmente emplazadas.
Esta serie de obras en las que vengo trabajando dan cuenta de mis últimas investigaciones en las posibilidades ilimitadas que ofrece el espacio como soporte de la obra, como herramienta constructora.
Selected Biographical Information
Education / Training
- Profesorado de Pintura, egresada de la Escuela Nacional de Bellas Artes “Prilidiano Pueyrredón” (dependiente del IUNA dec.1404/96).
Prizes / Fellowships
- 2013: Beca a la creación otorgada por el Fondo Nacional de las Artes. Buenos Aires, Argentina.
- 2013: Premio Concurso Igualdad Cultural. Buenos Aires, Argentina.
- 2007: Beca Fonca – Conaculta para programa de residencias artisticas para creadores de Iberoamerica y de Haití en México.
Solo Exhibitions
- 2014: “….in circle”, Alejandra von Hartz Gallery, Miami, USA.
- 2012: “Encuadre”, Galería Jorge Mara La Ruche, Buenos Aires, Argentina.
- 2011: “…en ángulo”, SALA 8, Centro Cultural Recoleta, Buenos Aires, Argentina.
- 2010: “Papel Protagónico”, Oficina Proyectista, Buenos Aires, Argentina.
- 2010: “Collages”, María Casado Gallery, Buenos Aires, Argentina.
- 2010: “Marcolina Dipierro en Planograf”, Zavaleta Lab / Arte Contemporáneo, Buenos Aires, Argentina.
Group Exhibitions
- 2012: “Agencia de asuntos subtropicales”, Curated by: Teresa Riccardi – EAC, Espacio de Arte contemporáneo, Uruguay.
- 2012: “Muestra colectiva”, Ciclo Pertenencias, Casa de la Cultura de FNA, Buenos Aires, Argentina.
- 2012: “Últimas Tendencias II”, Colección del Museo de Arte Moderno de Buenos Aires, MAMBA, Buenos Aires, Argentina.
- 2010: “RAM”, Espacio contemporáneo, Intervenciones, Fundación PROA, Buenos Aires, Argentina.
- 2009: “Beloved Structure: The Argentine Legacy”, Alejandra von Hartz Gallery, Miami, USA.
Publications
- Marcolina Dipierro. Catálogo. Galeria Jorge Mara La Ruche.
- “Entre la volumetría del plano y la planimetría del espacio”. Marcolina Dipierro en Galería Jorge Mara-La Ruche. Nota para ArtNexus nº 88 por María Amalia García.
- “La potencia de la geometría” Nota de Ana Marìa Battistozzi, sobre muestra individual en Galería Jorge Mara La Ruche. Publicada Diciembre del 2012, en Suplemento Ñ del diario Clarín. Buenos Aires, Argentina.
- “Tiempo coagulado en madera y metal“ Nota de Daniel Molina sobre muestra individual en Galería Jorge Mara La Ruche. Publicada el domingo 23Diciembre del 2012, en Diario Perfil. Buenos Aires, Argentina.
- “Los micromundos sin trama”, Nota por Daniel Molina sobre muestra “en planograf”,publicada el Domingo 30 de mayo de 2010 en Diario Perfil. Buenos Aires, Argentina.
Links
- Marcolina Dipierro, “Sin título”, 2013, Polychrome wood, concave angle structure, 115 x 60 x 150 cm.
- Marcolina Dipierro, “Sin título”, 2012, Cedar and acrylic paint, 5mm iron base x 150 x 70 cm. Photo credit: Nicolás Beraza.
- Marcolina Dipierro, “Sin título”, 2012, Polychrome wood, 100 x 100 x 18cm. Photo credit: Nicolás Beraza.
- Marcolina Dipierro, “Sin título”, 2012, Printed paper on wood, 20 x 29 x 2.5 cm.
- Marcolina Dipierro, “Pieza deslizable”, 2013, Cedar wood and acrylic, 53 x 18 x 3 cm.
- Marcolina Dipierro, “Sin título”, 2012, Series: Marcos en fuga, Cedar wood and glass, 20 x 30 x 20 cm deep. Photo credit: Oriol Tarridas.
- Marcolina Dipierro, “Sin título”, 2012, Cedar and acrylic paint, 40 x 40 x 20 cm deep.
- Marcolina Dipierro, “Sin título”, 2012, Collage with printed paper, 20.5 x 29.5 cm. Photo credit: Nicolás Beraza.
- Marcolina Dipierro, “Sin título-x4”, 2012, Collage with printed paper, 20 x 20 cm. Photo credit: Nicolás Beraza.
- Marcolina Dipierro, “Sin título”, 2012, Cedar beams and high impact stainless steel, 8 x 8 cm beams, 140 cm in total length, 20 cm.
- Marcolina Dipierro, “Sin título – Diptych”, 2011, Wood, cedar veneer and acrylic paint, 50 x 50 cm / 50 x 44 cm.
- Marcolina Dipierro, “Sin título – Triptych”, 2011, Wood, cedar veneer and aluminum, 21x 21 cm c/u -21 x 70 cm total 85 cm.
- Marcolina Dipierro, “Sin título”, 2010, Self-adhesive vinyl photo, Variable dimensions. Buenos Aires, Argentina. Photo credit: http://www.proa.org/esp/exhibition-ram-marcolina-dipierro-1.php
- Marcolina Dipierro, “Sin título”, 2011, Cedar and acrylic paint, 20 x 20 x 17 cm.
- Marcolina Dipierro, “Installation on wall”, 2011, Wood modules of cedar and acrylic paint, Variable dimensions. Buenos Aires, Argentina.
Translated from Spanish
My work is based in the fusion of two-dimensional and three-dimensional mediums, from traditional painting to site-specific installations, using architecture as a language that allows me to dialogue within different forms of representation.
The Works emerge and are comprised of traditional basics in visual compositions, adjusting to the limits of the utilized support, in this case, the architectural space.
Architecture is transformed not only in a form of rational and constructive processes in the use of matter in a functional manner. In my work, architecture transforms itself in something that goes beyond. Everything in this world, each thing, as simple as it may be, has architecture of its own. To me, the real meaning of architecture is found in its perception, visualization and reception, in terms of a formal-conceptual production of visual elements. Improvisation is a basic principle related to necessities that have to be solved. The most basic and ancient architecture is based on improvisation, to be adjusted to certain functions and aesthetic solutions.
The principle of my sculptural installations has avant-garde aesthetics from the beginning of the 20th century as their main reference, using Russian Constructivism as a model, and integrating thoughts and aesthetics derived from de-constructivism.
The use of pictorial and sculptural elements establishes a dialogic resistance and interaction. On the other hand, it represents a compositional structure that works in relation to elements of tension and suspension, where time and contemplation provoke a state of uncertainty, through the improvisation of forms, used construction elements and materials and arranged in real spaces, as a tactic of domestic, utopic and experimental architecture.
Mi trabajo se basa en la fusión de medios bidimensionales y tridimensionales; de pintura tradicional a instalaciones de sitio específico. Utilizando la arquitectura como un lenguaje que me permite el diálogo entre diferentes formas de representación.
Las obras surgen y se componen de fundamentos tradicionales en composiciones plásticas, ajustándose a los límites del soporte utilizado, en este caso, el espacio arquitectónico.
La arquitectura se convierte no sólo en una forma de procesos racionales y constructivos del uso de masas de una manera funcional. En mi trabajo la arquitectura se convierte en algo que va más allá. Todo en este mundo, cada cosa, por más simple que sea tiene una arquitectura en sí misma, para mí el significado real de la arquitectura se encuentra en su percepcion, visualizacion y recepcion, en términos de una producción formal-conceptual de elementos plasticos.
La improvisación es un principio básico en relación con todas las necesidades que tienen que ser resueltas. La arquitectura en sus formas más básicas y antiguas es en primer termino improvisación para ajustarse a determinadas funciones y soluciones esteticas.
El principio de mis instalaciones escultóricas tiene como referencia principal a estéticas de la vanguardia de principios del siglo XX, teniendo como modelo el Constructivismo ruso principalmente e integrando pensamientos y esteticas derivados del deconstructivismo.
El uso de elementos pictóricos y escultóricos establece, en un sentido, una resistencia y una interacción dialógica. Por otro lado, representa una estructura compositiva que trabaja en relación con elementos de tensión y suspenso, en donde el tiempo y la contemplación provocan un estado de incertidumbre, a través de la improvisación de formas, elementos y materiales constructivos usados y dispuestos en espacios reales como una forma de arquitectura doméstica, utopica y experimental.
Selected Biographical Information
Education / Training
- 2006: Lic. Artes Plasticas ENPEG La Esmeralda. Mexico DF, Mexico.
- 1997: Escuale de Arq. Universidad Anahuac. Mexico DF, Mexico.
Prizes / Fellowships
- 2011-2013: Sistema Nacional de Creadores. FONCA, Mexico.
- 2007: Premio de Adquisicion Pintura.Universidad de Guadalajara UAG. Mexico.
- 2007: Mencion Honorifica. Diesel New Art Estocolmo.
- 2006: Mencion Honorifica. WTC Art Fest 06. Mexico City. Mexico.
- 2006: Premio de Adquisicion Pintura. Auditorio Nacional-UNAM.
- 2004-2005: Mencion Honorifica y beca de Produccion. Mex-Am Foundation.
- 2004-2005: Jovenes Creadores (Pintura). FONCA, Mexico.
Solo Exhibitions
- 2013: “Out of Order”, Salt Fine Art, Laguna Beach, USA.
- 2013: “Supremat”, Yautepec Gallery, Mexico City, Mexico.
- 2013: “Oktubre”, Polyforum Siqueiros, Mexico City, Mexico.
- 2011: “CCC Project Reading the Space”, Space CAN Seoul – CAN Foundation Seoul, South Korea.
- 2011: “Reading the Space / Anibal Catalan”, Space CAN Beijing – CAN Foundation, Beijing, China.
- 2010: “Open Sky”, Drexel Proyectos, Monterrey, Mexico.
- 2009: “Overlap / Anibal Catalan”, La Estacion Arte Contemporáneo, Mexico City, Mexico.
- 2008: “Overland”, Steve Turner Contemporary, Los Angeles, USA.
- 2007: “Free & Mobile”, Gallery 415, San Francisco, USA.
Group Exhibitions
- 2013: “Mesocosmos”, MARCO Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico.
- 2012: “Meta Empire”, (Special Exhibition Daegu Photo Biennale) EXCO Daegu Exhibition Center, Daegu, Korea.
- 2012: “After the Future”, Eva International Biennial of Visual Art, Limerick City, Ireland.
- 2012: “An Exchange with Sol LeWitt”, MASS MoCA, USA.
- 2010: “Cimbra: Formas Especulativas y Armados Metafísicos”, Museo de Arte Moderno MAM, Mexico City, Mexico.
- 2010: “Mongolia 360 ̊ 1st International Land Art Biennial”, National Mongolian Modern Art Gallery, Ulan Bator, Mongolia.
- 2008: “Its Not Easy”, Exit Art, New York, USA.
- 2008: “Proyectos para Desconstruccion”, MUCA Roma, Mexico City, Mexico.
- 2008: “XIV National Painting Biennial Rufino Tamayo”, Museo Tamayo Arte Contemporaneo, Mexico City, Mexico.
- 2008: “Qui vive”, I Moscow International Biennale for Young Art. Moscow Museum of Modern Art, Moscow, Russia.
- 2006: “Premio Internacional de Pintura Expandida”, Museo de Castellon, Castellon de la Plana, Spain.
Publications
- 2013: “Mesocosmos.” MARCO Monterrey. Catalogo.
- 2012: “Carga Util 39 Artistas Contemporaneos en el MAM,” Museo de Arte Moderno. Catalogo.
- 2012: “After the Future,” Eva International Biennial of Art, Catalogo.
- 2011: “Reading the Space / Anibal Catalan.” Catalogo ,CAN Foundation, Seoul, South Korea.
- 2012: “The Wave.” Museum of Latin American Art MoLAA. Catalago.
- 2012: “Selections from the Sayago & Pardon Collection.” L.A. ArtCore Center.
- 2012: “Memorias,” MUCA Roma 2006-2009.
- 2012: “Textofilia No 19.” Anuario 2010-2011. Pags.72-81
- 2010: “Art Nexus No. 78.”
- 2010: “Art in America,” September 2008 . No 8. Pags. 175,176
- 2010: “Destellos de la Pintura en Mexico 200 años.” Editorial MVS.
- 2010: “Fonca 20 Años,” Conaculta.
- 2010: “Almost Utopia,” 18th street Annual Program Catalogue. Pages 5-11. Jan 2010
- 2009: “THE Magazine.” Feb-March.2009
- 2009: “Art Scene TM,” March 2009. Vol.28 No.7
- 2009: “M-Art. Emerging Artist Guide,” 2009 vol.2
- 2008: “Art Nexus. No 66.”
- 2008: “Los Angeles Times.” 06/28/2008
- 2007: “L.A Weekly.” 04/26/2007
Collections
- MAM Museo de Arte Moderno, Mexico.
- MARCO Museo de Arte Contempoiraneo de Monterrey, Mexico.
- IGC Instituto Guerrerense de la Cultura, Mexico.
- Friedrich Ebert Stiftung FES, Berlin, Germany.
- CAN Foundation, Seoul, South Korea.
- GLM Comunicaciones, Mexico.
- Private Collections (Mexico, USA, Denmark, Finland, Colombia, Russia, Korea, Canada, Italy, Spain).
- Aníbal Catalán, “Zona Morfologica / Supremat”, 2013, Series: Zona Morfologica, Acrylic on canvas, 120 x 180 cm. Photo credit: Courtesy of the artist.
- Aníbal Catalán, “Zona Morfologica / Downtown”, 2011, Series: Zona Morfologica, Acrylic on canvas, 120 x 180 cm. Photo credit: Courtesy of the artist.
- Aníbal Catalán, “Zona Morfologica / Supremat 2”, 2011, Series: Zona Morfologica, Acrylic on canvas, 120 x 180 cm. Photo credit: Courtesy of the artist.
- Aníbal Catalán, “Zona Morfo”, 2011, Series: Zona Morfologica, Acrylic on canvas, 140 x 140 cm. Photo credit: Courtesy of the artist.
- Aníbal Catalán, “Vorticity”, 2013, Installation, Variable dimensions, Coleccion MARCO Monterrey. Photo credit: Courtesy of the artist.
- Aníbal Catalán, “Zona Morfologica”, 2010, Installation, Variable dimensions, Coleccion MAM Mexico. Photo credit: Courtesy of the artist.
- Aníbal Catalán, “Morphological Zone”, 2012, Installation, Variable dimensions, Yautepec Gallery Mexico. Photo credit: Courtesy of the artist.
- Aníbal Catalán, “Babel”, 2011, Mixed media, 185 x 20 x 20 cm. Photo credit: Courtesy of the artist.
- Aníbal Catalán, “Barricada Suprematista”, 2012, Mixed media, Variable dimensions. Photo credit: Courtesy of the artist and Yautepec Gallery.
- Aníbal Catalán, “Proun”, 2011, Series: Proun, Installation, Variable dimensions, Yautepec Gallery Mexico. Photo credit: Courtesy of the artist.
- Aníbal Catalán, “Overland”, 2008, Mixed media, Variable dimensions. Photo credit: Courtesy of the artist.
- Aníbal Catalán, “Instant Architectures”, 2011, Series: Instant Architectures, Mixed media, Variable dimensions. Photo credit: Courtesy of the artist.
- Aníbal Catalán, “Morpho”, 2011, Mixed media, Variable dimensions, EXPLUM Collection, Spain. Photo credit: Courtesy of the artist.
- Aníbal Catalán, “Babel”, 2009, Single channel video 2 mins. 19 sec, Still image from video. Photo credit: Courtesy of the artist.
- Aníbal Catalán, “Top 10”, Single channel video 9 mins. 29 sec, Still image from video. Photo credit: Courtesy of the artist.
Translated from Spanish
From the personal intention of establishing an approach to the space, distance and time, I integrated elements and quantitative values to my production process, through calculations, units and instruments related to the concept and systems of measure that I have approached through video, drawing, assemblage and installation.
In this process, I reprise the mechanisms that gave way to the first calculations of time and space as they are; the acknowledgement of space and time through experience, identification and production of patterns that work as measuring units, the observation of the manifestations of these concepts, comparing diverse magnitudes and mainly the experimentation and documentation of these events. Based on this, I develop a personal route of exploration of space by comparing numeric manifestations as an artistic proposal about the world and its operation.
If we establish as a way of comparing, that the process of measuring, the final result and the measured value are a means to expand and complement the sensorial capacity of man, and that this capacity is associated to his brain capacity, we can say that to measure is to learn. Following this reasoning, that to measure is to learn or to acquire knowledge of something, we get to know what it is to know that thing, and thus we begin a sequence of events that are linked to each other and lead us to improvement and constant growth of our understanding.
Personally, I consider this method of production as a possibility to appreciate my surroundings from my artistic process, with measuring instruments and procedures that facilitate a type of emotive and sensorial personal information that does not pretend to be a scientific investigation but an analysis where I use these concepts and tools to reflect artistically on the space, distance and time, from my experience. Also, I am interested in formulating a method of production that based in the experience of using these systems of measurement, would result in a visual investigation that offers a possibility of construction of artistic objects that can be the documentation of the research of my environment, my process and what mean to me the discoveries on the world.
A partir del propósito personal de establecer una aproximación al espacio, la distancia y el tiempo, integré dentro de mi proceso de producción artística elementos y valores cuantitativos por medio de cálculos, unidades e instrumentos relacionados con el concepto y sistemas de medición a los que me he aproximado por medio del video, el dibujo, ensamble e instalación.
En este proceso, retomo los mecanismos que dieron lugar a los primeros cálculos de tiempo y el espacio como son, el reconocimiento del espacio y tiempo por medio de la experiencia, la identificación y elaboración de patrones que funcionen como unidades de medición, la observación de las manifestaciones de estos conceptos, la comparación de las diferentes magnitudes y la experimentación y la documentación de estos eventos, principalmente. En base a esto, desarrollo una vía personal de reconocimiento del entorno a través del comparar manifestaciones numéricas como una propuesta plástica acerca el mundo y su funcionamiento.
Si nosotros establecemos, a modo de semejanza, que el proceso de medición, el resultado final y el valor medido, son un medio de ampliar y complementar la capacidad sensorial del hombre y, que esta capacidad está asociada con su actividad cerebral, podemos decir que medir es aprender. Continuando con este razonamiento que medir es aprender o adquirir el conocimiento de alguna cosa, llegamos al saber que es conocer dicha cosa y, por lo tanto, entramos en una secuencia de acontecimientos vinculados entre sí, que, conducen al mejoramiento y al constante crecimiento de nuestro entendimiento.
Personalmente, considero esta forma de producción como una posibilidad para valorar el entorno desde mi proceso de producción artística con instrumentos y procedimientos utilizados en la medición que facilitan la obtención de una clase de información emotiva y sensorial personal que no pretende ser una investigación científica, sino una condición de análisis en donde utilizo estos conceptos y herramientas para hacer reflexiones plásticas del espacio, la distancia y el tiempo desde mi experiencia. Asimismo, me interesa formular un método de producción que, basado en la experiencia de utilizar elementos de los sistemas de medición, desarrolle una investigación plástica que brinde una posibilidad de construcción de objetos artísticos que sean los documentos de una investigación de mi entorno, de mi proceso y de lo que para mí son descubrimientos acerca del mundo.
Selected Biographical Information
Education / Training
- 2003: National Arts School “La Esmeralda”, CENART, BFA, Mexico City, Mexico.
Prizes / Fellowships
- 2012-2015: Miembro del Sistema Nacional de Creadores de Arte, Medios Alternativos, FONCA.
- 2008-2009: Becaria. Categoría Medios Altenativos, Programa Nacional Jóvenes Creadores, FONCA.
- 2007: Selección. Categoría Bidimensional, VII Bienal de Monterrey FEMSA.
- 2006: The AIR Drake Residency, Toronto, Canadá. Residencia de Producción Artística.
- 2002-2003: Programa Nacional Jóvenes Creadores, FONCA.
- 2003: 1er. Concurso Internacional de Arte Electrónico del Banco Internacional de Desarrollo Seleccionada Categoría Video , Washington D.C.
- 2002: Festival Internacional de Video y Artes Electrónicas Vidarte.
- 2002: Mención Honorífica Categoría Video, Seleccionada Categoría Video.
- 2001: Selección Categoría Performance, ExTeresa Arte Actual, 4tas. Jornadas de Nivelación del Oxigeno.
Solo Exhibitions
- 2013: “El lugar donde sucedemos: Midiendo un muro con tiempo”, Galería Nueveochenta, Bogotá, Colombia.
- 2012: “Emplazamiento Lineal. 2,400 metros”, Fundación Teatro Odeón, Bogotá, Colombia.
- 2012: “Trayecto de Mínimo Recorrido”, Centro Vlady de la UACM, Mexico City, Mexico.
- 2010: “Veinticuatro Horas“, Sala Daniel Mont, Museo Experimental El Eco, Mexico City, Mexico.
- 2008: “Linear Journey”, Diaz Contemporary Gallery, Toronto, Canada.
- 2007: “Distancias”, Galería La Refaccionaria, Mexico City, Mexico.
- 2007: “Metros Lineales Sala de Proyectos”, Casa Vecina, Mexico City, Mexico.
- 2006: “Measurements and Process”, Diaz Contemporary Gallery, Toronto, Canada.
- 2004: “Mediato/Emplazamiento”, Galería Casa Vallarta de la Universidad de Guadalajara, Mexico.
Group Exhibitions
- 2012: “Entre la Superficie y la Memoria“, Museo Nacional de la Estampa, Mexico City, Mexico.
- 2011: “Transurbaniac“, Museo Universitario Arte Conteporáneo MUAC, Mexico City, Mexico.
- 2010: “Cimbra: Formas especulativas y Armados metafísicos”, Museo de Arte Moderno MAM, Mexico City, Mexico.
- 2010: “Paisaje Después del Temblor“, Galería Luis Adelantado México, Mexico City, Mexico.
- 2010: “Superficies del Deseo“, Museo Universitario Arte Contemporáneo MUAC, Mexico City, Mexico.
- 2010: “Transurbaniac”, University Art Gallery University of California San Diego, USA.
- 2007: “Ciudad Madin”, Crearte Urbano Complejo Cultural El Aguila, Madrid, Spain.
- 2006: “Come Closer”, Space Piano Nobile, Ginebra, Switzerland.
- 2005: “Come Closer”, Kunstlerhaus Bethanien, Berlin, Germany.
- 2005: “Declaraciones: Video Contemporáneo de México”, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain.
Publications
- MNEMOGRAFIAS, Entre la superficie y la memoria. Museo Nacional de la Estampa. Mexico City 2012. ISBN: 978-607-605-162-7
- ABSTRACCION TEMPORAL. Museo Experimental El ECO. UNAM Mexico City. 2010. ISBN: 978-607-02-2426-3
- Exit Express. Periodico Mensual de Información y debate sobre Arte, ISSN 1697-5405, Nº. 55, 2010 , pág. 56
- EL LIBRO ROJO. Fondo de Cultura Económica. Mexico City. 2008
- MANUAL DE OPERACION. Ricardo Rendón. Ed. Vainilla Planifolia. Mexico City. 2011. ISBN 978-607-95650-0-8
- CARGA UTIL. MAM Museo de Arte Moderno. Mexico City. 2012.
- TRANSURBANIAC. MUAC Museo Universitario de Arte Contemporáneo. UNAM Mexico City 2010. ISBN 978-607-02-1328-1
- MEXICO Expected/Unexpected. Collection Isabel & Agustin Coppel. Maison Rouge. Paris France 2008. ISBN 978-2-84975-146-6
Collections
- Museo Universitario de Arte Contemporáneo MUAC, Mexico City, Mexico.
- Museo Laboratorio de Arte Alameda, Mexico City, Mexico.
- Atom Egoyan Collection, Toronto, Canada.
- Sarah Diamond Colection, Toronto, Canada.
Links
- Georgina Bringas, “Agua (metros cubicos en metros lineales)”, nd., Site specific installation with plastic ropes and metal hooks, Variable dimensions, Parque España, Mexico City. Photo credit: Courtesy of the artist
- Georgina Bringas, “Disección de un muro: 119, 349 cm2”, 2010, Site specific installation with cotton thread, Variable dimensions, Centro Cultural Border, Mexico City. Photo credit: Courtesy of the artist
- Georgina Bringas, “24 horas”, 2012, Site specific installation with VHS video tape, Variable dimensions, Museo Experimental El ECO, UNAM Mexico City. Photo credit: Courtesy of the artist
- Georgina Bringas, “Colección de tiempo (43 min 04 seg, 26 min 02 seg, 8 min 41 seg, 59 min 01 seg, 34 min 47 seg, 1 hora 50 min 12 seg, 17 min 11 seg, 52 min 01 seg)”, 2010, MiniDV video tape on wood panel, 100 cm high. Photo credit: Courtesy of the artist
- Georgina Bringas, “Todas las horas de hoy”, 2010, Wax on canvas, 30 x 30 cm each, 24 pieces. Photo credit: Courtesy of the artist
- Georgina Bringas, “Enciclopedia: Todos los minutos de hoy”, 2010, 1440 pencil drawings on hard cover, 21 x 28 cm each, 24 books. Photo credit: Courtesy of the artist
- Georgina Bringas, “Recorrido lineal 7, 020 metros”, 2010, Site specific installation with 7, 000 mts of cotton thread, Variable dimensions, Museo Universitario de Arte Contemporáneo, UNAM, Mexico City. Photo credit: Courtesy of the artist
- Georgina Bringas, “Emplazamiento lineal, 2400 mts.”, 2012, Site specific installation with acrylic thread, Variable dimensions, Fundación Teatro Odeón, Bogotá Colombia. Photo credit: Courtesy of the artist
- Georgina Bringas, “Trayecto de Mínimo Recorrido”, 2012, Site specific installation with cotton thread, Variable dimensions, Centro Vlady, Mexico City. Photo credit: Courtesy of the artist
- Georgina Bringas, “reflexión de un paisaje: 294 m. de estambre, 250 gr. de pigmento”, 2013, Site specific installation with cotton thread and natural pigments, Variable dimensions, Museo Nacional de la Estampa, Mexico City. Photo credit: Courtesy of the artist
- Georgina Bringas, “Trayecto de Mínimo Recorrido 1”, 2012, Cotton thread on canvas, 120 x 100 cm. Photo credit: Courtesy of the artist
- Georgina Bringas, “Trayecto de Mínimo Recorrido 2”, 2012, Cotton thread on canvas, 120 x 100 cm. Photo credit: Courtesy of the artist
- Georgina Bringas, “Trayecto de Mínimo Recorrido 3”, 2012, Cotton thread on canvas, 120 x 100 cm. Photo credit: Courtesy of the artist
- Georgina Bringas, “Composición Métrica #1”, 2012, Measure tape on wood, 50 x 50 cm. Photo credit: Courtesy of the artist
- Georgina Bringas, “Composición Métrica #5”, 2012, Measure tape on wood, 50 x 50 cm. Photo credit: Courtesy of the artist
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 Omar Barquet https://abstractioninaction.com/artists/omar-barquet/
Translated from Spanish
I have recently developed an investigation that proposes various relationships among concepts of space, time, landscape, sound, silence, memory, and perception. The idea of variation is understood as the metamorphosis and interaction that occurs within this glossary of concepts, and which merges a series of projects where experimentation with different media and processes function as central axis of my artistic practice, and which allows a sense of dynamics during the process of the work itself.
Based on this outline, I began an interdisciplinary project in 2013, titled Ghost Variations, which states an analogy between the evolutionary phases of a hurricane and the movements of a symphony, giving to each one of its phases a selection of formal elements and collaborative practices for its production.
Recientemente, he desarrollado una investigación que propone diversas relaciones entre los conceptos de espacio, tiempo, paisaje, sonido, silencio, memoria y percepción. La idea de variación es entendida como la metamorfosis e interacción que acontece entre este glosario de conceptos y que integran una serie de proyectos donde la experimentación con diversos medios y procesos funciona como eje de mi práctica artística, los cuales otorgan un sentido dinámico durante el proceso mismo de la obra.
Basado en este esquema, inicié en 2013 un proyecto interdisciplinario titulado Ghost Variations, el cual articula una analogía entre las fases evolutivas de un huracán y los movimientos de una sinfonía, otorgando a cada una de sus fases una selección de elementos formales y estrategias colaborativas para su realización.
Selected Biographical Information
Education / Training
- Escuela Nacional de Pintura, Escultura y Grabado La Esmeralda, Mexico City, Mexico.
- 2001 – 2006: Licienciatura en Artes Plásticas, Mexico City, Mexico.
Prizes / Fellowships
- 2013: Residencia Artística en CASA TOMADA, Sao Paulo, Brazil.
- 2009: Residencia Artística en CAPACETE, Río de Janerio, Brazil.
- 2009: Beca Arte Actual Bancomer – MACG 2009.
- 2008-09: Beca Jóvenes Creadores 2008 – 09, FONCA.
- 2004-05: Beca Jóvenes Creadores 2004 – 05, FONCA.
- 2003: Segundo lugar, Premio Philips Art Expression, X Edición, Museo de Imagen y Sonido, Sao Paulo, Brazil.
- 2003: Primer lugar, Premio Philips Art Expression, X Edición, Museo de Arte Moderno, Mexico City, Mexico.
- 2002: Mención Honorífica, Un espacio de 35 mm, Televisa, Centro de la Imagen, Mexico City, Mexico.
- 2002-03: Beca Jóvenes Creadores 2002 – 03, FECAQROO.
- 2002-06: Beca Fundación Telmex.
Solo Exhibitions
- 2013: “1st Fugue”, Kunsthalle Sao Paulo, Brazil.
- 2012: “Half Day Closing”, Pinta Art Fair, NYC, USA. (Curator: Jacopo Crivelli)
- 2012: “Ghost Variations 1 (Prelude)”, Galería Arróniz, Mexico City, Mexico. (Curator: Christian Barragán)
- 2011: “Lapses”, Hermés Store, Mexico, DF. (Curator: Tobías Ostrander)
- 2010: “Reverb“, Museo Experimental El Eco, Mexico DF. (Curator: Tobías Ostrander)
- 2010: “Pautas”, Dot Fifty One Gallery, Miami, USA.
- 2008: “Estudio”, Trolebús Galería, Mexico City, Mexico. (Curator: Ariadna Ramonetti)
- 2008: “Suspensión, alineación y balanceo”, Galería Arróniz, Mexico City, Mexico.
- 2007: “Axis”, Laboratorio Dzityá, Yucatan, Mexico.
Group Exhibitions
- 2013: “Emmathomasteca“, Galería Emma Thomas, Sao Paulo, Brazil (Curator: Marta Ramos Yzquierdo)
- 2013: “Materia Sensible“, Gabinete grafico, Museo Carrillo Gil, Mexico City, Mexico. (Curator: Caroline Montenat)
- 2012: “XV Bienal de Pintura Rufino Tamayo“, Museo Tamayo, Mexico D.F. Colectiva Mexico, Galería Baró, Sao Paulo, Brazil.
- 2011: “Re Cover”, Casa del Lago, UNAM, Mexico City, Mexico.
- 2010: Hecho en Casa, Fundación Ex – Molino, Mexico City, Mexico.
- 2010: “Arte Actual, Programa Bancomer MACG”, Museo de Arte Carrillo Gil, Mexico City, Mexico. (Curatoras: Ruth Estévez y Sarah Demeuse)
- 2009: “Trabajo de espacio”, Galería Arróniz, Mexico City, Mexico.
Publications
- 2012: MPBA, Museo del Palacio de Bellas Artes.
- 2011: ABSTRACCION TEMPORAL, Museo Experimental El Eco / UNAM / 2011.
- 2011: MEMORIAS, Casa del Lago / UNAM / 2011 + 2007.
- 2010: PROGRAMA BBVA BANCOMER – MACG.
- 2005-2009: TROLEBUS.
- 2004-2005:MEMORIAS JOVENES CREADORES 2004- 205.
Collections
- Museo de Arte Contemporáneo de Oaxaca, Mexico.
- La Colección Júmex, Mexico.
- Jorge Pérez Collection, Miami, USA.
- Joahn Hickey Collection, NY, USA.
- Sayago & Pardon Collection, Los Angeles, USA.
Links
- Omar Barquet, “Suspensión”, 2013, Color pencil, marker and collage on MDF hanging structure, 240 x 180 x 20 cm (peso 40 kg). Photo credit: Adrián Villalobos
- Omar Barquet, “Filtros”, 2010, 6 Glazed and carved wood screens, Variable dimensions. Photo credit: Mauro Giaconi
- Omar Barquet, “Division + Day After Day”, 2011, Partially sanded wood floor. Installation with letters made of carved and assembled wood, Variable dimensions. Photo credit: Adrian Villalobos
- Omar Barquet, “Reflection”, 2010, Intervened table, enamel and mirror, 120 x 70 x 150 cm. Galeria DotFiftyOne (Miami). Photo credit: Ramiro Chavez
- Omar Barquet, “Im Freien (Reverse)”, 2012, Series: Out Of Doors, Encyclopedia convers intervened with mixed techniques, audio cassette and record player with sound action and wooden ledge, 200 x 35 cm. Private Collection. Photo credit: Felipe Censi
- Omar Barquet, “Cuadrante 23 (The Nicht’s Music)”, 2012, Series: Cuadrantes, Acrylic on paper over canvas, 33 x 32 cm. Private Collection. Photo credit: Adrian Villalobos
- Omar Barquet, “Day After Day (high version)”, 2012, Series: Day After Day, Installation with brushes and carved wooden canes, 250 x 80 x 80 cm. Galeria Baró, Sao Paulo.
- Omar Barquet, “White noise + A lapse of silence (Diptico para ambos lados de un mismo muro)”, 2012, Encyclopedia convers intervened with mixed techniques, audio cassette and record player with sound action and wooden ledge, 150 x 10 x 40 cm. Photo credit: Felipe Censi
- Omar Barquet, “La Visión (Guillotina)”, 2012, Series: La Visión, Perforated, trimmed and glazed aluminum sheet. Diptych, edition of 5, 52 x 38 cm. Location: Galeria Arroníz. Photo credit: Luis Nava
- Omar Barquet, “Astilla”, 2012, Series: Ghost Variations, Fragments of a carved chair installed on wall, 15 x 30 x 45 cm. Galeria Arroniz. Photo credit: Luis Nava
- Omar Barquet, “La Chanson de la folle au bord de la mer”, 2012, Series: The Shining Paintings, Esmalte sobre puerta recortada, 108 x 74 cm. Galeria Arroníz. Photo credit: Adrian Villalobos
- Omar Barquet, “Darker Days Ahead”, 2013, Series: Horizounds, Transfer, tearing, sanding and enamel on wood, 28 x 42 cm. Sayago & Pardon Collection. Photo credit: Omar Barquet
- Omar Barquet, “Ghost Variations (Orange horizon)”, 2012, Series: Ghost Variations, Digital print, serigraphy and enamel on canvas, 180 x 370 cm (triptych). Photo credit: Adrian Villalobos
- Omar Barquet, “The song of the mad woman on the sea shore (prelude)”, 2013, Series: Ghost Variations, Mural paint, sound sculpture and action in collaboration with Fernando Soberanes y Javier Loyola, Variables. Duration: 12 min. Photo credit: Fabiola Aviña
- Omar Barquet, “Constellations hemispheres”, 2013, Series: Broken records, Vinyl record with intervened symphony through perforations. On-going project, Diameter 32 cm. Photo credit: Habacuque Lima
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.