Abstraction in Action Pier Stockholm https://abstractioninaction.com/artists/pier-stockholm/

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.

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August 19, 2015 Mariella Agois, Alberto Borea, Jorge Cabieses, Casari & PPPP, Valentino Sibadon: Señalamientos https://abstractioninaction.com/happenings/mariella-agois-alberto-borea-jorge-cabieses-casari-pppp-valentino-sibadon-senalamientos/

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Artists: Mariella Agois, Alberto Borea, Jorge Cabieses, Casari & PPPP, Valentino Sibadon, Miguel Aguirre, Haroldo Higa, Edi Hirose, José Luis y José Carlos Martinat, Musuk Nolte, and Patrick Tschudi.

Señalamientos
Curator: Jorge Villacorta
April 23 – May 23, 2015
Lucía de la Puente Galería de Arte
Lima, Peru

Celebrating 20 years of the gallery. Group exhibition.

April 22, 2015 Mariella Agois, Ricardo Alcaide, Alberto Borea, Jorge Cabieses, Alberto Casari, Sandra Gamarra, Billy Hare, Nicolás Lamas, Valentino Sibadón: Divertimento https://abstractioninaction.com/happenings/mariella-agois-ricardo-alcaide-alberto-borea-jorge-cabieses-alberto-casari-sandra-gamarra-billy-hare-nicolas-lamas-valentino-sibadon-divertimento/

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Artists: Mariella Agois, Miguel Aguirre, Ricardo Alcaide, Alberto Borea, Jorge Cabieses, Alberto Casari, Aldo Chaparro, Margarita Checa, César Cornejo, Dare Dovidjenko, Sandra Gamarra, Huanchaco, Billy Hare, Haroldo Higa, Edi Hirose, Fernando La Rosa, Nicolás Lamas, Julio Le Parc, Benjamín Moncloa, Vik Muniz, Musuk Nolte, Pedro Peschiera, Jorge Piqueras, Liliana Porter, Emilio Rodríguez Larraín, Valentino Sibadon, Pier Stockholm, José Tola, Adriana Tomatis, Patrick Tschudi, and Alice Wagner.

Divertimento
January 14 – February 6, 2015
Galeria Lucia de la Puente
Lima, Peru

Group show

Image: Alberto Borea, from the series American Deconstruction, 2015, Collage on canvas, 150 x 190 cm.
February 24, 2015 Nicolás Lamas https://abstractioninaction.com/artists/nicolas-lamas/

My work derives from the interest and mistrust in constructed perceptions, which are considered to belong to a “natural order” and constantly build our notion of truth through a systematized knowledge. Most of my questioning focuses on examining the models associated with scientific research and the constant pursuit of order, measure, and control of the laws that govern the perceptible world. Through different guidelines, I analyze the relationship established between knowledge and power, and how that bond ideologically determines the way we perceive, interpret, and interact with our environment. I am interested in the search for the gaps and cracks generated in specific relations between representation systems and the notion of an objective and indisputable reality. In order to exemplify the perceived inconsistencies, I carefully manipulate images, texts, sounds and other elements that are associated with capturing, interpreting and transmitting information. Through this, I attempt to somehow put into evidence relativity, malleability, and the level of indetermination in all of which we aim to comprehend by trying to search for an objective and definite truth.

 

Mi trabajo parte del interés y la desconfianza hacia las percepciones construidas de aquello que pertenece a un “orden natural” y modela nuestras certezas a través de un conocimiento sistematizado. Gran parte de mis cuestionamientos se centran en examinar los modelos asociados a la investigación científica y la constante búsqueda por ordenar, medir y controlar las leyes que gobiernan el mundo perceptible. A través de ciertas consideraciones, analizo la relación que se establece entre conocimiento y poder, y cómo ese vínculo determina ideológicamente nuestro modo de percibir, interpretar e interactuar con nuestro entorno. Busco brechas y fisuras en la relación que se genera entre distintos sistemas de representación y lo que intentamos definir como realidad. Como parte de este proceso, opto por la manipulación selectiva de imágenes, textos, sonidos y otros elementos asociados a la captura, interpretación y transmisión de información. Con ello, evidencio la relatividad, maleabilidad y grado de indeterminación en todo aquello que intentamos comprender al vincularnos racionalmente en busca de una verdad objetiva y definitiva.

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February 19, 2014 Jorge Cabieses: IGNOTO https://abstractioninaction.com/happenings/jorge-cabieses-ignoto/

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Jorge Cabieses: IGNOTO
November 20 – December 27, 2013
Lucía de la Puente Gallery
Lima, Peru

Jorge Cabieses develops his work in an ongoing exploration new supports, surfaces, images. Intervenes melamine plates and industrial plastic pallets using old lithographs. Transits and appeals primarily to the geometry as a tool for cancellation in some cases and in others, using the same geometry as a single image and thus as solo protagonist.

For some years, the artist has been synthesizing images in geometries, questioning the representation of the image. Often claims the essential, shape and color.

Pure line and chromatic condensation can alienate the sense of replacement, risking of disappointing the spectator. In IGNOTO, Jorge Cabieses, get to know the unknown, connecting these two concepts in his work, the unknown as the exploration of new surfaces, and knowledge, which is the result of its own process.

Jorge Cabieses (Lima, 1971) studied at the School of Fine Arts Corriente Alterna and formed part of the collective PERU FACTORY. He was a finalist in the contest “Passport for an artist” (2001, 2002 and 2005), Phillips (2001,2002) and Telefónica Foundation (2001). He was selected to the Cisneros Foundation Scholarship CIFOs, 2011, and selected for the project Abstraction in Action by Cecilia Fajardo-Hill Curator, Collection Sayago & Pardon. His work is part of Fontanals Cisneros Collection.

Since 2003, has made a series of solo exhibitions, including the most recent: “Mirabilia” L’imaginaire Gallery of the Alliance Française, Lima, 2013, “Surface”, Sala Luis Miro Quesada Garland, Lima, 2012, “Concrete ” Galeria Lucia de la Puente, Lima, 2011,” Screen “, Enlace Gallery, Buenos Aires, 2008, among others.

He has participated in international art fairs such as The Armory Show, Galeria Lucia de la Puente, New York, 2013; Parc, Galeria Lucia de la Puente, Lima, 2013; ArtLima, Galeria Fernando Pradilla, Lima, 2013; Pinta, Galeria Fernando Pradilla, London, 2013; FIA GB-ARTS Gallery ,Caracas, 2013; ARTBO, James Karpio Gallery Bogotá, 2011-2012; Scope Miami James Karpio Gallery, 2011-2012; The Armory Show, Galeria Lucia de la Puente, New York, 2011; Pinta, Galeria Lucia de la Puente, Pinta, Ideobox Gallery, London, 2011; Arteamericas, Miami Galería Enlace Arte Contemporáneo, 2007-2008; ArteBA, Galería Enlace Arte Contemporáneo Buenos Aires, 2007-2008; ArtBO, Galeria Enlace Arte Contemporaneo Bogotá, 2007.

Has been part of numerous group shows: 30 years James Karpio Gallery, Costa Rica, 2012; “Obras seleccionadas” 2da Bienal de Grabado, ICPNA, Lima, 2010; Chile Triennial, Santiago, 2010; Triennial of Contemporary Art – ITCA. Praga, 2009; Ojo latino, Benetton Collection, Santiago de Chile, 2009; “Develaciones – Tendencia”, Berlín, Polonia, Viena, 2007-2008; Miradas de fin de Siglo “Pop / Popular”, Museo de Arte de Lima (MALI), Lima, 2007; Miradas de fin de Siglo “Transito de Imágenes” Museo de Arte de Lima (MALI), Lima, Perú, 2007; Resistencias, Casa de América, 2003; among others.

Click here to view Jorge Cabieses on Abstraction in Action.

November 18, 2013 Jorge Cabieses https://abstractioninaction.com/artists/jorge-cabieses/

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.

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October 15, 2013 Valentino Sibadón https://abstractioninaction.com/artists/valentino-sibadon/
Translated from Spanish

I see art and the processes it implies; as a main root that include many useful aspects in life which go from instincts to measure; intuitive aesthetics to rational ethical’s mechanics. Being in this path is a constant study of the whole, going through experiences, observations and resolutions to understand it as a big unity.   This study helps me to obtain different perspectives for the experience of perceiving life in an analytical and contemplative way. With the appetite to keep making new findings; and understanding the mechanism by which different disciplines are related. This interest is the constant mark that motivates my work, acting and reacting starting from of one idea.

 

Entiendo el arte y los procesos que implican, como una rama madre que engloba muchos aspectos útiles para la vida, que van desde el instintivo hasta la mesura, desde la estética intuitiva hasta la ética racional mecánica. Estar en ese camino es un estudio constante del todo, avanzando por experiencias, observaciones, resoluciones para entenderlo como una gran unidad. Este estudio me ayuda a obtener perspectivas para la experiencia de percibir la vida, de forma analítica y contemplativa. Con apetito de seguir descubriendo más y comprender mecanismos en los que se relacionan las disciplinas. Este interés es la constante marca que motiva mi trabajo, accionando y reaccionando a partir de alguna idea.

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October 8, 2013 Ricardo Alcaide: Una Forma De Desorden Invasivo https://abstractioninaction.com/happenings/ricardo-alcaide-una-forma-de-desorden-invasivo/

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Ricardo Alcaide: Una Forma De Desorden Invasivo
August 9 – September 7, 2013
Lucia de la Puente Gallery
Lima, Peru

In this first solo exhibition in Galeria Lucia de la Puente, Alcaide presents a combined selection of his three last series, where he ponders through photography, painting, sculpture and installation, about the contrast between precarious architecture and the presence of modern architecture and some of the possible problems based on everyday experiences in the city of Sao Paulo, where he lives.

On one hand, small format paintings of “A Place To Hide” series, still under development, which are abstract formal studies created from temporary precarious architectural structures. On the other, “Vernacular Prototype”, which appear with fragmented planes compositions present in the sculptures and installations in the exhibition room, suggesting incomplete shapes referring to similar profiles of modern architecture, but they arise from discarded objects from the streets. Both series operate as a preamble to his latest show, “Intrusions”, centerpiece of this exhibition.

The selection of photographs taken over with acrylic paint of “Intrusions” are iconic images of Latin America’s modern architecture, in the case of Venezuela, where Alcaide was born and raised, and Brazil where lives and works. The works of the architect Oscar Niemeyer (Panalto Palace and The Itamaraty Palace in Brasilia), Lina Bo Bardi (Glass House in Sao Paulo), Gio Ponti (Villa Planchart in Caracas) and Carlos Raúl Villanueva (University City of Caracas).

“Intrusions” bring to these constructions of fine and delicate lines different masses of color. His main concern is to interrupt, pictorial and symbolic, inside specific architectural spaces, recognizable and impeccable, as a foreign and external element to the self-image and to the space itself. As objects that appear and disappear messily in the urban spaces, a sort of lost shapes, as to be objects abandoned and discarded or confusingly used to form a small temporary structure for shelter to the homeless.

In “intrusions”, Alcaide conceptualizes aesthetics that refer to vernacular and modernist architecture, along with the geometric abstraction that marked his academic background. In this group of over painted images of Modern mid century interiors, the geometrical shapes subtly deconstruct the carefully designed romos. These incidental openings, thickly painted planes of colours, alter the dynamics of the interiors, invading the space and creating a new reality. Alcaide attempts to hinder the pictorial and symbolic reality of these immaculately designed spaces with a foreign and striking element which appears to be floating in the space like an abandoned shelter.

This contrast appears in his works to compose a more complex approach to the topic of past modernism and his relationship with the harsh reality in modern times. The artist’s approach is to address a so complex social issue, from an ambiguous and ironic point of view, as presenting these ideal scenarios formally occupied by geometric objects and attractive compositions, and yet represent a form of invasive disorder.

His most recent solo exhibitions include: Intrusiones, Galeria Tajamar, Santiago de Chile, 2013; Tomar Medidas, Espacio OTR, Madrid-España, 2013; Prototipo Vernacular, Oficina #1, Caracas, 2013; Optimismo Radical, Josee Bienvenu Gallery, New York, 2013; Lejos De Casa, curated by Virginia Torrente, Galeria MasArt, Barcelona, 2012; Solo Project, curated by Pablo Leon de la Barra, Pinta Art Fair, London, 2012; A Place To Hide, Baró Galería, São Paulo, 2011; HorizonteVasado, Instituto Cervantes, São Paulo, 2011; A Place To Hide, Galería Blanca Soto, Madrid, 2010; Transeuntes, Galería Fernando Zubillaga, Caracas, 2010; Des-habitable. Espacio de Arte OTR, Madrid, 2009; The Sitters, Galeria Solar Ferrão, Salvador de Bahía, 2008; Skinworks, Solo Project, Margalef & Gipponi Gallery, Antwerp, 2007; Prominent Space Project, MA Fine Art Show 07, Chelsea College of Art, London, 2007.

His work is in public and private collections as: LIMAC Museo de Arte Contemporáneo de Lima; Zabludowicz Collection, London; Colección Fundación Cisneros, Caracas; Pinacoteca do Estado de São Paulo; Museo de Arte Contemporáneo de Caracas; Galeria de Arte Nacional GAN, Caracas. Ricardo Alcaide currently lives and works in São Paulo-Brazil.

Click here to view Ricardo Alcaide on Abstraction in Action.

August 9, 2013