Artists: Iván Argote, Arocha + Schraenen, Lothar Baumgarten, Matthew Buckingham, Elena Damiani, Adler Guerrier, Jorge Pedro Núñez, Edgar Orlaineta, Laercio Redondo, Matheus Rocha Pitta, Sergio Vega.
The Devil is in the details
Curated by Jesus Fuenmayor
September 17 – November 20, 2015
KaBe Contemporary
Miami, FL, USA
The title of the exhibition “The Devil is in the details” pretends to point towards the details’ appearances in a work of art that unexpectedly allow viewers to comprehend the work (and even history) in a different way, even when this reading betrays our expectations or completely twists a work’s initial intention. Instead of just speaking about how important the use of historiography is for this group of artists, the show draws attention to what Roland Barthes used to call the “Punctum.” That is, that detail in an image (or work) that escapes its own structure, shooting out like an “arrow” towards the viewer. The artists selected for this exhibition have turned to the representation of history not just as material itself but also as means by which to criticize how history is constructed. They are not just interested in the past tense or simply reviving archival strategies, but in putting the past in relation to the present and the future, creating overlapping temporalities that bring disparate moments together. scottrade site down
October 28, 2015 Carla Arocha – Stephane Schraenen, Sigfredo Chacón & Jorge Pedro Núñez: En blanco y negro https://abstractioninaction.com/happenings/carla-arocha-stepahne-schraenen-sigfredo-chacon-jorge-pedro-nunez-en-blanco-y-negro/
Artists: Carla Arocha- Stephane Schraenen, Antonio Asis, Paulo Castro, Sigfredo Chacón, Adriana Jebeleanu and Jorge Pedro Núñez
En blanco y negro
April 2014
Kabe Contemporary
Miami, FL, USA
En blanco y negro is a group show featuring works by six contemporary artists. The works that comprise this exhibition display a diverse array of techniques: drawing, painting, photography and sculpture, dating from 1969 to the present. The common thread that bonds these pieces evoke a distinct vocabulary of mass, line and texture utilizing black and white materials.
May 27, 2014 Jorge Pedro Núñez https://abstractioninaction.com/artists/jorge-pedro-nunez/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.
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- Jorge Pedro Núñez, “Untitled ( tres cuerpos negros )”, 2014, Plywood and metal , 49 x 110 x 38 cm.
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- 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.
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- 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.
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- 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).
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- Jorge Pedro Núñez, “MADAME DEVAUÇAY – SERGIO LEONE”, 2012, Book and lamp, 32 x 198 x 24 cm.
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- Jorge Pedro Núñez, “Chambre avec vue “, 2012, Stainless steel stems, plasterboard, 60 x 120 x 60 cm.
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- Jorge Pedro Núñez, “Nature morte withmonuments”, 2010, Vinyl Records, aluminium, wood, Variable dimensions. CIFO.
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- 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.
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- Jorge Pedro Núñez, “Practica constructiva”, 2011, books and metal, 20 x 120 x 90 cm.
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- Jorge Pedro Núñez, “Electric Tatlin”, 2011, Books, metal, security system, cables., 290 x 250 x 45 cm.
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- Jorge Pedro Núñez, “Untitled ( cinco cuerpos negros )”, 2014, Plywood and metal , 49 x 200 x 33 cm.
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- Jorge Pedro Núñez, “Todo lo que MAM me dio “, 2010, Mixed media (plinths, show windows, various objects), 450 x 190 x 250 cm.
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
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- 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.
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- 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.
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- 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.
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- Sergio Vega, “On the mimetic faculty” (front view), 2008, Mixed media installation, Variable dimensions. LWL Landesmuseum, Münster, Germany. Photo credit: Courtesy of the artist.
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- 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.
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- 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.
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- Sergio Vega, “Paradise: Real time”, 2010, Video installation, 6 screens, 28 minutes, Variable dimensions. Ikon Gallery, Birmingham, UK. Photo credit: Courtesy of the artist.
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- Sergio Vega, “Paradise: Real time”, 2010, Video installation, 6 screens, 28 minutes, Variable dimensions. Ikon Gallery, Birmingham, UK. Photo credit: Courtesy of the artist.
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- Sergio Vega, “Paradise: Real time”, 2010, Video installation, 6 screens, 28 minutes, Variable dimensions. Ikon Gallery, Birmingham, UK, Photo credit: Courtesy of the artist.
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- Sergio Vega, “Paradise: Real time”, 2010, Video installation, 6 screens, 28 minutes, Variable dimensions. Ikon Gallery, Birmingham, UK, Photo credit: Courtesy of the artist.
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- Sergio Vega, “Modernismo Tropical” (lounge), 2005, Multimedia Installation, Variable dimensions. Biennale di Venezia, Photo credit: Courtesy of the artist.
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- Sergio Vega, “Across the Corpus Callosum”, 2005, Wall paint, taxidermy, color samples, Variable dimensions. Galerie Karsten Greve, Paris, Photo credit: Courtesy of the artist.
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- 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.
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- 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.
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- 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.
Translated from Spanish
My plastic research is developed through consecutive series, for example:
Serie Dibujos (Drawing Series) 1974/1989, Serie Monocroma (Monochrome Series) 1991/1993, Serie Pinturasparlantes (Talkingpaintings Series) 1993/1995, Serie Rejillas (Grilles Series), 1993 until today, Serie Purapinturabstracta (Pureabstractpainting Series) 1995, divided into: Drippings, Dibujosdepintura (Paintdrawings), Pinturastropicales (Tropicalpaintings), Crucigramasconmoscas (Crosswordswithflies), Purapintura (Purepainting), Emotionalpaintings, Serie Do you copy? (Do you copy? Series), Serie Pinturaparadaltónicos (Paintingforthecolorblind), Serie Berlinpaintings (Berlinpaintings Series).
All of this is being superimposed parallel to consecutive series in simultaneous periods. I mix one series with another and experimenting with ideas, little by little weaving the conceptual cobweb, giving a renewed sense to all the work process, always faithful to the original idea, for example that of Pureabstractpainting.
This is like a mathematical equation. I try in every moment to keep the process clear and clean, where the mother or medullar idea prevails: that painting is the medium and end of all the creative discourse, and that any reference would be painting itself.
Mi investigación plástica se desarrolla por series consecutivas, por ejemplo:
Serie Dibujos 1974/1989, Serie Monocroma 1991/1993, Serie Pinturasparlantes1993/1995, Serie Rejillas, 1993 hasta hoy, Serie Purapinturabstracta 1995 dividida en: Drippings, Dibujosdepintura, Pinturastropicales, Crucigramasconmoscas, Purapintura, Emotinalpaintings, Serie Do you copy?, Serie Pinturaparadaltónicos, Serie Berlinpaintings.
Todo esto se va sobreponiendo paralelamente en series consecutivas en periodos simultáneos, voy mezclando una serie con otra y exprimiendo las ideas, así poco a poco se va tejiendo la telaraña conceptual, dándole un sentido renovado a todo el proceso de trabajo, siempre fiel a la idea original por ejemplo de Purapinturabstracta.
Esto es como una ecuación matemática, trato en todo momento que el proceso sea muy claro y limpio, donde lo que prevalezca sea la idea madre o medular: que la pintura sea el medio y el fin de todo el discurso creativo y que cualquier referencia sea la pintura misma.
Selected Biographical Information
Education / Training
- Escuela de Artes Plásticas y Aplicadas Cristobal Rojas, Caracas, Venezuela.
- Instituto de Diseño Newman – Ince, Caracas, Venezuela.
- Chelsea School of Art and Design, London, England.
- London College of Printing, London, England.
Prizes / Fellowships
- 2003: XXVII Salón Nacional de Arte de Aragua, Premio MACMA.
- 2003: 61 Salón Arturo Michelena, Premio Andrés Pérez Mujica.
- 2001: XXV Salón Nacional de Arte de Aragua Premio CONAC.
- 1994: Premio Obra Bidimencional 4ta Bienal Nacional de Arte de Guayana.
- 1992: Mención de Honor, Obra Bidimencional 3ra Bienal Nacional de Arte de Guayana.
- 1991: Gran Premio de Pintura, Salón de Pintura 50 Aniversario, Banco Central de Venezuela.
Solo Exhibitions
- 2012: “Drawings?”, KaBe Contemporary Art, Miami, USA.
- 2009: “Do You Copy?”, Centro de Arte Periférico, Caracas, Venezuela.
- 2007: “Sigfredo Chacón, Pinturas Recientes”, Galería La Cuadra, Caracas, Venezuela.
- 2000: “Sigfredo Chacón Fundación Corp Group”, Caracas, Venezuela.
- 1995: “Pinturas Parlantes”, Caracas, Venezuela.
Group Exhibitions
- 2007: “Jump Cuts – Venezuelan Contemporary Art”, Colección Mercantil, CIFO (Cisneros Fontanals Art Foundation), Miami, Florida, USA.
- 2007: “Correspondences Contemporary Art from the colection Patricia Phelps de Cisneros”, Wheaton College, Massachusetts, USA.
- 2007: “Extrapictórico”, Corp Banca, Caracas, Venezuela.
- 2006: “Obras inéditas de la colección”, Fundación Museos Nacionales en el Museo Carlos Cruz-Diez, Museo de la Estampa y del Diseño Carlos Cruz-Diez, Caracas, Venezuela.
- 2005: “Jump Cuts – Venezuelan Contemporary Art”, Colección Mercantil, The Americas Society Art Gallery, New York, NY, USA.
Collections
- Museo de Bellas Artes, Caracas, Venezuela.
- Galería de Arte Nacional, Caracas, Venezuela.
- Museo Alejandro Otero, Caracas, Venezuela.
- Museo de Arte Moderno, Santafé de Bogotá, Colombia.
- Museo Jacobo Borges, Caracas, Venezuela.
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- Sigfredo Chacón, “Pinturaparadaltónicos, Green”, 2011, Series: Pinturaparadaltónicos, Acrylic on canvas, 60x60cm. Private Collection. Photo credit: Constanza González
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- Sigfredo Chacón, “Crucigramaconmoscas”, 1995, Series: Purapinturaabstracta, Acrylic and synthetic flies on canvas, 169x169cm. Private Collection. Photo credit: Constanza González
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- Sigfredo Chacón, “Do You Copy?”, 2010, Series: Do You Copy?, Acrylic on canvas, 1232x132cm. Private Collection. Photo credit: Constanza González
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- Sigfredo Chacón, “Pintura Dalmata”, 2009, Series: Purapinturaabstracta, Acrylic on canvas, 132x132cm. Private Collection. Photo credit: Constanza González
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- Sigfredo Chacón, “Emotionalpainting”, 2008, Series: Emotionalpainting, Acrylic collage on canvas, 420x60cm. Private Collection. Photo credit: Constanza González
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- Sigfredo Chacón, “Dibujoparadaltonicos”, 2012, Series: Pinturaparadaltonicos, Acrylic on paper, 76x57cm. Location: KaBe Contemporary Art, Miami. Photo credit: Constanza González
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- Sigfredo Chacón, “Rejilla amarillo tráfico”, 1993, Series: Purapinturaabstracta, Acrylic on synthetic material and wood, 170x140cm. Private Collection. Photo credit: Renato Doncelli
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- Sigfredo Chacón, “Do You Copy?”, 2009, Series: Do You Copy?, Acrylic on canvas, 132x132cm. Private Collection. Photo credit: Carlos German Rojas
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- Sigfredo Chacón, “Drippings”, 2007, Series: Purapnturaabstracta, Acrylic on canvas, 122x13cm each one. Private Collection. Photo credit: Constanza González
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- Sigfredo Chacón, “Pura pintura abstracta con 11 franjas y drippings”, 1999, Series: Purapinturaabstracta, Acrylic on canvas, 169x169cm. Private Collection. Photo credit: Carlos German Rojas
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- Sigfredo Chacón, “Purapinturaabstracta #22”, 1995, Series: Pura pintura abstracta, Acrylic on canvas, 169x169cm. Private Collection. Photo credit: Carlos German Rojas
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- Sigfredo Chacón, “Dibujo de pintura #22”, 1998, Series: Purapinturaabstracta, Lithographic ink frottage on canvas, 169x169cm. Private Collection. Photo credit: Carlos German Rojas
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- Sigfredo Chacón, “Pinturaparadaltonicos”, 2011, Series: Pinturaparadaltonicos, Acrylic on canvas, 60x60cm. Private Collection. Photo credit: Constanza González
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- Sigfredo Chacón, “Do You Copy?”, 2010, Series: Do You Copy?, Acrylic collage on canvas, 300x60cm. Private Collection. Photo credit: Constanza González
