Abstraction in Action Omar Barquet: Syllables https://abstractioninaction.com/happenings/omar-barquet-syllables/

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Artist: Omar Barquet

Syllables
May 11, 2016 – June 25, 2016
Arróniz Arte Contemporáneo
Mexico City, Mexico

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The passion on the wall, the knot to come, the birth. 

The sunless openings, the illuminated edge and its mourning. 

The battle between the red and the orange, the fresh wind 

of the memory of Greece where living is an experiment 

of atmospheres, of bones, of cuts and sinking.

Syllables is an interdisciplinary show inspired on the 5th melisma for Gunther Gerzso written by Mexican poet Francisco Hernández; conducted by Omar Barquet and integrated as the 6th movement of the Ghost Variations project.

Ghost Variations is an interdisciplinary proposal launched in 2012, composed of a sequence of six projects organized similarly to the movements of a symphony, and as a series of six experimental collaborations understood as fugues.

Together they pose an analogy to the disctint evolutionary phases of a hurricane, emulating its intensity and movements, like the sketch of a spiral shape, mainly reflecting on the perception of time and life through the transformation cycles of a landscape and the chaotic nature of our thoughts, depicting a pulse wich changes in intensity, and thus, the estate of things.

May 23, 2016 Omar Barquet, Pablo Rasgado, Ana Tiscornia, Ishmael Randall Weeks: A Sense of Place https://abstractioninaction.com/happenings/omar-barquet-pablo-rasgado-ana-tiscornia-ishmael-randall-weeks-sense-place/

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Artists: Omar Barquet, José Bedia, Jorge Méndez Blake, Carlos Cárdenas, Los Carpinteros, Enrique Martínez Celaya, Eugenio Dittborn, Gonzalo Fuenmayor, Carlos Garaicoa, Guillermo Kuitca, Gilda Mantilla, Moris, Vik Muniz, Oscar Muñoz, Damián Ortega, Liliana Porter, Sandra Ramos, Pablo Rasgado, Camilo Restrepo, Graciela Sacco, Ana Tiscornia, José  A. Vincench, Ishmael Randall Weeks, and many others.

A Sense of Place – Selections from the Jorge M. Pérez Collection
Curated by Patricia Hanna and Anelys Alvarez
December 3-6, 2015
Mana Contemporary
Miami, FL, USA

Despite the fact that these artists are working in a globalized society, where technology and communication transcend physical boundaries, many continue to construct personal and cultural identities by exploring ideas that are specific to their own experiences and places of origin. The show will examine the idea of building such an identity; how artists use abstraction, architecture, politics and memory to carve out a sense of place; and how these concerns are reflected in Pérez as a collector and in Miami as a developing city. Artists in the show include a mix of well-known and emerging art stars from Argentina, Brazil, Colombia, Cuba, Mexico, Peru, and Uruguay, including: Omar Barquet, José Bedia, Jorge Méndez Blake, Carlos Cárdenas, Los Carpinteros, Enrique Martínez Celaya, Eugenio Dittborn, Gonzalo Fuenmayor, Carlos Garaicoa, Guillermo Kuitca, Gilda Mantilla, Moris, Vik Muniz, Oscar Muñoz, Damián Ortega, Liliana Porter, Sandra Ramos, Pablo Rasgado, Camilo Restrepo, Graciela Sacco, Ana Tiscornia, José  A. Vincench, Ishmael Randall Weeks, and many others.

Jorge M. Pérez was named one of the most influential Hispanics in the U.S. by TIME magazine, and is considered a visionary for his contributions to South Florida’s cultural and artistic landscape, as well as his integration of world-class art into each of his real estate developments.

A Sense of Place is being held at Mana Wynwood Convention Center, 318 NW 23rd Street, Miami, Florida.

December 3, 2015 Omar Barquet, Mauro Giaconi & José Luis Landet: Amplificar https://abstractioninaction.com/happenings/omar-barquet-mauro-giaconi-jose-luis-landet-amplificar/

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Artists: Omar Barquet, Mauro Giaconi, and José Luis Landet.

Amplificar
May 30 – July 16, 2015
Document Art
Buenos Aires, Argentina

La simplicidad de la existencia: su agitación, su inquietud, su pena y su gozo, su espesor, su densidad, su cosa extensa, su tiempo convulso, desunido, su indisciplina, sus farfulladas, su inconciencia visceral y su lucidez no menos clavada al cuerpo… ̈Jean-Luc Nancy (1940).

Los artistas Omar Barquet (México), Mauro Giaconi y José Luis Landet (Argentina) se reúnen para plantear nuevamente una experiencia abierta, donde conceptos como paisaje, lenguaje y entorno son algunas de los ejes temáticos que traman esta propuesta.Ubicando al espectador como potencial protagonista y generando un espacio-terreno de juego, donde una serie de dispositivos lúdicos y simbólicos se disponen para ser activados, Barquet, Giaconi y Landet buscan desde la acción física e interactiva, amplificar el debate sostenido a larga distancia en forma de cadáver exquisito a través de medios de comunicación digitales.

June 15, 2015 Omar Barquet, Pablo Rasgado & Omar Rodríguez-Graham: Pararrayos https://abstractioninaction.com/happenings/omar-barquet-pablo-rasgado-omar-rodriguez-graham-pararrayos/

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Artists: Omar Barquet, Pablo Rasgado, Omar Rodríguez-Graham, Javier Areán, Veronica Bapé, Miguel Angel Cordera, Taka Fernandez, Agustín González, Jacqueline Lozano, Javier Pérez, Eric Pérez, Patricl Petterson.

Pararrayos
Curated by Christian Barragán
May 27 – July 2, 2015
Embajada de México en Alemania
Berlin, Germany

Group show with contemporary Mexican painters.

May 19, 2015 Omar Barquet: Solo show https://abstractioninaction.com/happenings/omar-barquet-solo-show/

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Artist: Omar Barquet

Omar Barquet, performance and solo show
April 10, 2015
Christinger De Mayo
Zürich, Switzerland

Solo show and performance by Omar Barquet

Image: Omar Barquet, Ghost Variations’ 3rd Fugue: The Shinning Sequence. Photo: Pablo Faccinetto
April 17, 2015 Omar Barquet: 1M1A https://abstractioninaction.com/happenings/omar-barquet-1m1a/

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Artist: Omar Barquet

Solo show
November 2 – 30, 2014
1M1A
Mexico City, Mexico

 

September 29, 2014 Omar Barquet, José Luis Landet, Christian Camacho Reynoso & Mauro Giaconi: Diferencias sobre lo blanco https://abstractioninaction.com/happenings/omar-barquet-jose-luis-landet-christian-camacho-reynoso-mauro-giaconi-diferencias-sobre-lo-blanco/

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Artists: Omar Barquet, José Luis Landet, Ernesto Alva, Christian Camacho Reynoso, Ricardo Cuevas, Julie Escoffier, Mauro Giaconi, Blanca González, Sergio Gutiérrez and Nelson Santos.

Diferencias sobre lo blanco
July 5 – August 23, 2014
Curated by Marissa Viani Serrano
Casa Galeria D.F.
Mexico City, Mexico

La muestra multidisciplinaria Diferencias sobre lo blanco, se presentará del 5 de julio al 23 de agosto en Casa Galería, proyecto independiente de producción de arte contemporáneo situado en el sur de la ciudad. Con esta muestra Casa Galería pretende celebrar haberse convertido en proyecto exitoso dentro la plataforma Fondeadora, produciendo una exposición de alta calidad que incluye el trabajo de 10 artistas de contrastada trayectoria, tanto mexicanos como internacionales de países como Argentina, Francia y Ecuador. Encontramos entre los participantes a artistas como Omar Barquet (Mx) (becario del FONCA, beca Bancomer-MACG Arte Actual, seleccionado en la Bienal Rufino Tamayo) o el argentino José Luis Landet (también becario del FONCA y con una larga trayectoria en México…entre otros países). El plantel lo completan Ernesto Alva (Mx); Christian Camacho Reynoso (Mx); Ricardo Cuevas (Mx); Julie Escoffier (Fr); Mauro Giaconi (Ar); Blanca González (Mx); Sergio Gutiérrez (Mx); y Nelson Santos (Ec), todos de una reconocida y consolidada trayectoria.

Bajo la curaduría de Marissa Viani (cineasta, curadora e investigadora), tercera dentro ciclo de curadoras jóvenes que participan en Casa Galería este año,Diferencias sobre lo blanco aborda el concepto de lo “neutro” en la obra artística.

La muestra propone que cada artista, independientemente de su estilo, reflexione sobre su propio proceso encontrando la figura más sencilla o más acabada que le permita recuperar el sentido esencial de su pieza a través de la exposición de un fragmento o resto de ella misma.

Viani asegura que las pinturas, dibujos, collages, videos e instalaciones de esta muestra, se construyen tomando distancia de cualquiera que sea su objeto para poner de manifiesto una relación de infinitud en su propio dis-cursus, curso desunido e interrumpido.

De esta manera, lo “neutro” encuentra su expresión en un objeto que se desobjetiviza para dar origen a un nuevo objeto neutro. Lo “neutro” aparece en el momento en que se comienza a (des)dibujar, a encontrar (perder) el tono, el color, el aspecto, la forma o el motivo. Roland Barthes lo relaciona con el “Minimal Art”, surgido en Nueva York en la década de los sesenta, como reacción al desborde del expresionismo abstracto del action-painting, donde existe un renunciamiento a cualquier significación extra-visual de un objeto presentado como evidencia simple de una realidad irrefutable.

August 6, 2014 Omar Barquet: Ghost Variation’s Prelude: The Midnight Sun https://abstractioninaction.com/happenings/omar-barquet-ghost-variations-prelude-midnight-sun/

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Artists: Omar Barquet, Tamara Uribe, Rafael Pérez y Pérez, Irma Palacios, Roger von Gunten, Antonio Chemor, Benito Cabañas and Levi Ponce, Sketch & Noookye.

Ghost Variation’s Prelude: The Midnight Sun
July 18 – September, 2014
Museo de Arte Contemporáneo de Yucatán MACAY
Yucatán, Mexico

La exposición está organizada por la Fundación Cultural Macay A.C. y el Museo Fernando García Ponce-Macay. A continuación se enlistas los artistas participantes y sus respectivas obras.

Tamara Uribe: Frontera invisible
Sala 1

Rafael Pérez y Pérez: Si yo descubriera América
Sala 2

Irma Palacios: El color de la tierra
Salas 4 y 5

Omar Barquet: Ghost variation ́s prelude: The mindnight sun
Salas 6 y 7

Roger von Gunten: ¿Ante quién ocurre el mundo?
Salas 9, 10 y 11

Antonio Chemor: La mirada de las piedras
Sala 11 bis

Benito Cabañas: Por siempre y para siempre
Galería Norte

Levi Ponce, Sketch y Noookye: Muros pintados
Expoforo

July 25, 2014 Omar Barquet: Ghost Variations https://abstractioninaction.com/happenings/omar-barquet-ghost-variations/

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Artist: Omar Barquet

Ghost Variations
June 18 -20, 2014
Performance: June 17, 2014
MAAS Performance 
Long Island City, NY, USA

“Ghost Variations” is an interdisciplinary proposal launched in 2012 by artist Omar Barquet (Chetumal, México 1979), comprising a sequence of five projects organized like the movements of a symphony, as well as a series of five subprojects generated from experimental collaborations understood as “fugues”. Together they pose an analogy to the distinct evolutionary phases of a hurricane, emulating its intensities and movements, like the sketch of a spiral shape, mainly reflecting on the perception of time through the transformation cycles of a landscape.

2nd Fugue: The Groans of White Noise, brings forth an environment of tension which occurs at a sonorous and performatic level, carrying the spectator’s imagination into the most intense part of a hurricane. It is a project which is based in the emotional and physical tensions experienced in this phase of the meteorological phenomenon, occasionally verging on moments of delirium and using the acceleration of the pulse of the breath as patterns to elaborate the evolution of intensity.

This sonorous action also uses as reference a few fragments of the poems of Licofron, El Obscuro, where he constructs a labyrinth of associations around the ravings of Cassandra, Greek mythological character and Trojan princess.

This epiphany of catastrophe articulates a connecting link in which madness constitutes a repetition of certain phrases of the poem in a sort of mantra, whose progressive acceleration and intensity drift into meaninglessness, generating a confused and dense state, similar to the most intense phase of the storm creating a soundscape. The performance and sound experimentation will be in collaboration with sound and visual artist Richard Garet, and with experimental musician Javier Barquet. Both artists are based in New York City.

5th Fugue: The Broken Poem, is an action taken through video, based on a phrase from a poem by Paul Éluard. It is conceived from fragments of broken chairs, articulating a sculptural typography which quotes the poem slowly, and in fractures. Simultaneous to the projection of these phrases, there is a mound created randomly with the remains of the broken chairs, on a floor soaked with water, corresponding to the flood – the final phase of the Ghost Variations project sequence. Both these fugues depict an analogy of the storm and the chaotic nature of thought, where human emotionality manifests as an unstable and complex phase of the renewing energy of life cycles – a breath which changes in intensity, and as such, the state of things.

Omar Barquet was born in Chetumal, México, September 10th 1979. He received his Bachelor of Fine Arts from ENPEG La Esmeralda, in México City. He has exhibited in various national and international forums, in cities like New York, Tokyo, Buenos Aires, Sao Paulo, Lima, Miami, Basel, Madrid and México City. He is a founding member of the Segundo Piso art collective, composed of Augustin Gonzales, José Luis Landet y Moris. He was the recipient of the Jóvenes Creadores Arts and Culture Fund National Grant, as well as the Arte Actual Bancomer MACG Grant. In 2009, he obtained a two-month residency in Capacete, Rio de Janeiro, Brazil. In 2010, he performed his solo show REVERB, at the Museo Experimental El Eco, and in 2011 was commissioned to develop the LAPSES installation for the brand Hermés Paris – México. In 2013 he completed his residency for Casa Tomada art ists, which concluded with his solo show, entitled Ghost Variations’ 1st Fugue: “The Flock”, in Kunsthalle, Sao Paulo. For the second half of 2014, he is preparing a series of solo shows starting at the MACAY Museum in Mérida, Yucatán, a residency for his first solo show at Mandragoras Arts Space in New York, and a solo project at 123 Space in México City.  Since 2013, he collaborates in GRAMA RUINA, a visual and sound experimental collective with Fernando Soberanes, Javier Loyola, and Xavi Cunilleras.

June 13, 2014 Omar Barquet, José Luis Landet, Pablo Rasgado, Omar Rodríguez-Graham: Superficie de Tensión https://abstractioninaction.com/happenings/omar-barquet-jose-luis-landet-pablo-rasgado-omar-rodriguez-graham-superficie-de-tension/

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Artists: Ernesto Alva, Verónica Bapé, Balam Bartolomé, Omar Barquet, Saúl Gómez, José Luis Landet, Moris, Calixto Ramírez, Pablo Rasgado, Omar Rodríguez-Graham, Tania Ximena, Cynthia Yee

Curated by Christian Barragán

Superficie en Tensión
January 25 – March 22, 2014
Diagrama
Mexico City, Mexico

Entre el arte contemporáneo, la pintura en la actualidad continúa una disputa dentro y fuera de sus límites sobrentendidos. De ser una superficie pulida, determinante y estática, pasó a ser una superficie en tensión, abierta, inacabada, donde cada artista -desde su particular condición y posición- cuestiona la naturaleza y el campo de acción de ésta disciplina, generando un diálogo con la historia remota y presente. Fue a partir de 1913 que Marcel Duchamp abandonó la pintura-pintura, aquella con aroma a terebantina, por la pintura-idea; fue el comienzo de su verdadera obra, que incluye los readymades y el Gran Vidrio (1915-1923). Es también ése año el comienzo de una nueva época en el arte: la sustitución de la obra-representación por la obra-presencia, asunto del cual Roland Barthes se ha ocupado en su ensayo el Grado cero de la escritura y Octavio Paz en Apariencia desnuda, de ahí la siguiente cita: “El artista no es un hacedor; sus obras no son hechuras sino actos.” Desde ese momento la pintura para Duchamp es un objeto de investigación interna, lo es en dos sentidos, de sí mismo en tanto creador y como análisis del arte en tanto lenguaje. Respecto a esta decisión de Duchamp, Paz escribió, “su fascinación ante el lenguaje es de orden intelectual: es el instrumento más perfecto para producir significados y, asimismo, para destruirlos.” La pintura, a un mismo tiempo,  arma y cuerpo de su propia batalla.

El siglo veinte es el siglo de las vanguardias: entre otras, Impresionismo, Fauvismo, Expresionismo, Cubismo, Futurismo, Abstracción, Suprematismo, Dadaísmo, Metafísica, Constructivismo, Surrealismo, Arte Conceptual, Minimalismo, Land Art, Pop Art… Un siglo de más de cien años en los cuales el arte fue un campo abierto, dinamitado desde el feudo de la pintura. A semejanza del acto de Duchamp, ahí está Warhol haciendo pintura en serigrafía, apropiándose de la multiplicidad y serialidad de imágenes que ofrecían los medios masivos de comunicación en el momento; o Basquiat recurriendo a cuanto soporte tuvo frente a sí, ya sea la puerta de un refrigerador o muebles de madera en desecho, atando palos y tela, mugre y óleo para pintar; o Richter y su realismo austero de la posguerra, además de sus densos barridos de color; o Oehlen explorando las posibilidades de la escala a través del ordenador sobre polímeros; o Baldessari y su “Cremation Project” (1970), en el cual hizo quemar todas las pinturas que había realizado hasta entonces. Un siglo, aún pues, de “tradición y ruptura” (Paz dixit).

La obra reunida en Superficie en tensión son “actos” interesados en la pintura, investigaciones llevadas a cabo por un grupo disímil de artistas congregados por sus procesos de trabajo sobre la vigencia y alcances de lo pictórico. Por ello, cada obra es una aproximación, un modo de concebir, de enfrentarse, ante el gesto pictórico dentro y fuera del bastidor. Los encuentros con la pintura suceden más allá de la superficie, y así descubren o amplían otros ámbitos y contextos, posturas e incomodidades, dudas y cuestionamientos. No importa ya la condición suprema de la pintura sobre otras disciplinas, sino del arte en su condición de creador-destructor de conocimiento, sentido, crítica y significado para asumirse frente a un tiempo y espacio específicos: el aquí y el ahora del arte contemporáneo. Superficie en tensión es un ejercicio que atiende no sólo la pervivencia de la pintura, sino también la vitalidad del arte.

January 21, 2014 Abstracción temporal (Temporary Abstraction), Museo Experimental El Eco 2010 https://abstractioninaction.com/contexts/contemporary/abstraccion-temporal-temporary-abstraction-museo-experimental-el-eco-2010/

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Abstracción temporal (Temporary Abstraction), Museo Experimental El Eco 2010
UNAM
Mexico City, Mexico
2011

“Art in general, and naturally architecture as well, is a reflection of the spiritual state of the man of its time. But there is a sense that the modern architect, individualized and intellectual, exaggerates at times—perhaps due to having lost close contact with the community—when wanting to highlight architecture’s rational side excessively. […] Only by receiving true emotions from architecture, man can consider it again art.” This is an excerpt from the introduction of the book “Abstracción Temporal, Museo Experimental El Eco 2010,” which gathers different activities (or “experiments” as they call them) that took place in Museo Experimental El Eco the same year.

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Based on Mathias Goeritz’s Emotional Architecture Manifesto from 1953, El Eco establishes its grounds to understand the reason why this museum is a space for creation, experimentation and emotion in different levels. This summary of “experiments” is an interesting book that presents more than 20 examples of visual arts, architecture, music, poetry, film, performance and dance. Projects such as Pabellón Eco, Archivo Vivo de El Eco (Eco Pavilion, Live Archive of El Eco), Cine Abierto (Open Cinema), and its curator and artist residency program, are presented through interviews, visual information and letters which enhance the way the reader interacts with the book. The publication includes works, interviews, actions and interventions by Thomas Glassford, Alex Hubbard, Karina Peisajovich, Georgina Bringas, Omar Barquet, Geoffrey Farmer, El Resplandor, Marcos Castro, My Barbarian, Inger-Reidun Olsen, Frida Escobedo, José León Cerrillo, Adriana Lara, Lázaro Valiente, Melanie Smith, Rafael Ortega, Alejandra Laviada, N’Goné Fall, Sharon Houkema, Adrian Notz, Postopolis!DF, Verbatim Vortex, and José Jiménez Ortiz.

Texts by José León Cerrillo, Rita Eder, N’Goné Fall, Geoffrey Farmer, Mathias Goeritz, José Jiménez Ortiz, Jennifer Josten, Adriana Lara, Alejandra Laviada, David Miranda, My Barbarian, Adrian Notz, Tobias Ostrander, Ricardo Pohlenz, El Resplandor, Inger-Reidun Olsen, and Paola Santoscoy.

*Images taken from Arquine

January 12, 2014 Omar Barquet https://abstractioninaction.com/projects/omar-barquet-project/

Omar Barquet
Night Tide

Pinta, NY

For the Abstraction in Action project commission at PINTA NY 2013, I proposed the creation of an ephemeral collage mural made with fragments of various failed tests of xylography, offset and photocopy prints, which were the result of several processes and treatments of digital and analog deterioration, providing a memory to these materials and emphasize the idea of interference. I find an interesting connection between the formal languages of Concretism and technical-scientific diagrams related to space, landscape, sound, time, and nature, as languages that take on abstraction, often with contradictory purposes, but from their intersections I saw the possibility of articulating different proposals with diverse mediums and focused on revising the dynamic landscape as a mental scene. Given the dimensions and duration of the commission, I considered that the project would function as an abstract composition which describes a sequence of changes in the pulsations of a night tide. The materials will be subjected to a process of graphic experimentation. The installation and de-installation of the stand will be extended as a circular process, generated from the fragmentation and rearticulation of three scientific encyclopedia’s back covers—their collage feel will be translated to the scale of the stand. — Omar Barquet

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Para la comisión de un proyecto de Abstracción en Acción para Pinta NY 2013, propuse un collage mural efímero realizado con fragmentos de distintas pruebas fallidas de impresión
en xilografía, offset y fotocopias resultantes de distintos procesos y tratamientos de desgaste, tanto digitales como analógicos, que otorgan una memoria sobre estos materiales y enfatizan la idea de interferencia.

Encuentro una interesante conexión entre los lenguajes formales del Concretismo y los esquemas técnicos de ciencia relativos a espacio, paisaje, sonido, tiempo y naturaleza, como lenguajes que asumen la abstracción con objetivos en muchas ocasiones contradictorios, pero que
en cuyas intersecciones vi la posibilidad de articular distintas propuestas con medios igual- mente diversos y enfocadas a revisar el paisaje dinámico como escena mental.

Por las dimensiones y duración de la comisión, consideré que el proyecto funcionaría como una composición abstracta que des- cribe una secuencia de cambios en las pulsaciones de la marea nocturna. Los materiales serán sometidos a procesos de experimentación gráfica y todo el montaje y desmontaje del stand, será entendido como un proceso circular generado desde la fragmentación y rearticulación de tres contraportadas de una enciclopedia científica cuyo sentido de collage, será trasladado a la escala del stand. — Omar Barquet

Descarga el folleto

January 2, 2014 Omar Barquet: Night Tide / Marea Nocturna https://abstractioninaction.com/happenings/omar-barquet-night-tide-marea-nocturna/

S&P NIGHT TIDE WALL COLLAGE

Artist Rendering. Photo courtesy of the artist.

Omar Barquet: Night Tide / Marea Nocturna
November 14 – 17, 2013
PINTA New York
New York, NY, USA

For the Abstraction in Action project commission at PINTA NY 2013, I proposed the creation of an ephemeral collage mural made with fragments of various failed tests of xylography, offset and photocopy prints, which were the result of several processes and treatments of digital and analog deterioration, providing a memory to these materials and emphasize the idea of interference. I find an interesting connection between the formal languages of Concretism and technical-scientific diagrams related to space, landscape, sound, time, and nature, as languages that take on abstraction, often with contradictory purposes, but from their intersections I saw the possibility of articulating different proposals with diverse mediums and focused on revising the dynamic landscape as a mental scene.

Given the dimensions and duration of the commission, I considered that the project would function as an abstract composition which describes a sequence of changes in the pulsations of a night tide. The materials will be subjected to a process of graphic experimentation. The installation and de-installation of the stand will be extended as a circular process, generated from the fragmentation and rearticulation of three scientific encyclopedia’s back covers—their collage feel will be translated to the scale of the stand.

The site specific installation made with intervened encyclopedia covers by Omar Barquet will be on display at PINTA New York at PINTA Editions in the Abstraction in Action booth.

-Omar Barquet

Omar Barquet (Mexico, b. 1979) holds a degree in Fine Arts from the National School of Painting, Sculpture and Engraving “La Esmeralda” (INBA), Mexico City. He has exhibited in various national and international cities such as New York, Buenos Aires, Sao Paulo, Lima, Miami, Basel and Mexico City. His artistic practice encompasses installations, collages, engravings, and other techniques. Barquet has had residencies in Brazil.

He set up the Second Floor Art Collective along with artists José Luis Landet, Moris and Agustín González. Selected exhibitions include 1st Fugue, Kunsthalle Sao Paulo, Brazil, 2013; Half Day Closing, Pinta Art Fair, NYC, 2012; XV Bienal de Pintura Rufino Tamayo, Museo Tamayo, Mexico, 2012, LAPSES, Hermés Store, Mexico, 2011. He lives and works in Mexico City.

Click here to view Omar Barquet on Abstraction in Action.

November 12, 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.

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October 4, 2013