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


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

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

December 27, 2016 KIRIN: DIDERÓTICA https://abstractioninaction.com/happenings/kirin-diderotica/

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Artist: KIRIN

April 9th, 2016 -May 31st, 2016
Jorge Mara-La Ruche
Buenos Aires, Argentina

DIDERÓTICA is a double tribute, or an “appreciation”, as specified in the subtitle of the exhibition. On the one hand, the figure of famous French philosopher and writer Denis Diderot (1784 1713) is celebrated, creator, animator and editor of one of the most ambitious and influential intellectual endeavors of the human spirit, L’Encyclopédie (1751 -1772). On the other hand, the exhibition celebrates a color present in all the works on display: red.

There is no direct, causal link between the life and work of Diderot and the color red. The encyclopedic – who was perhaps the first great art critic in history – does not even have any explicit mention of red in his writing. It could be surmised that the color red is usually used to mark or highlight something and Kirin uses it to reveal details or aspects of the work from Diderot. The fact is that Kirin dreamed about this writer he admires in reds and it is known that dreams have a mysterious logic of their own. Some of the works on show are recreations made by the artist of the wonderful illustrations from L’Encyclopédie. Kirin recreates, draws, copies and pixelates these images and intervenes with red, or rather with variations of the range of this color that is so powerful and symbolic. Kirin uses vermilion, cadmium, scarlet, cinnabar and several shades of red, as Michel Pastoureau says in his Dictionary of colors, “… it is the color par excellence, the archetypal color, first of all colors “. Kirin had already used a single color in some previous pictorial series: Negro de marfil (2004) or black-white dialogue in Entrelíneas (2014), both of which were exhibited at the Jorge Mara – La Ruche Gallery. In both exhibitions there is an illustrated catalog.

In this series Kirin continues developing variations on geometric shapes, sometimes large in size. Along with these, there are smaller oils on paper, showing a kind of weaving or linking of graphic signs evocative of ancient, archaic alphabets with a singular poetic content: pure pictorial representations without further reference than their own mystery.


June 1, 2016 Kirin, Macaparana, Sclavo, Stupía: El color de los sueños https://abstractioninaction.com/happenings/kirin-macaparana-sclavo-stupia-el-color-de-los-suenos/

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

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

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

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

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

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

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

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

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

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

Selección de obra de artistas de la galería.

January 14, 2015 Abstraction in Action: ARCOmadrid 2014 https://abstractioninaction.com/happenings/abstraction-action-arcomadrid-2014/


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

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

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


February 25, 2014 KIRIN https://abstractioninaction.com/artists/kirin/

Selected Biographical Information

Solo Exhibitions

Group Exhibitions


February 19, 2014