*This artist statement has been generated by a computer.
Emilio Chapela lives and works both in Mexico City and the Forgotten Realms of the Earth. He works with the latest technology from Japan and China. His artistic practice is concerned with the development of a system that allows the operator to control various processes such as those used for conventional and unconventional methods to determine the relative importance of individualized factors. He also investigates the effect of increasing importance of the different methods used to identify the specific factors involved in the production and dissemination of a particular type of information. In such a way, he has worked with several different methods to determine how the various systems respond to the needs identified through their own resources. He has participated in shows both at galleries, museums and other cultural institutions, at places like the U.S. Geological Society of America and at the Museum of Modern Art in New York. He was awarded with the prestigiou award for gallantry in the field of public procurement and disposal. In 2010, he published his first book on the history of the world. In the near future, he will be showing his work at the National Institute of Technology and Information Ethics in Washington DC.
Selected Biographical Information
Education / Training
- Lic. en Comunicaciones. Universidad Iberoamericana, Mexico City, Mexico.
- Diploma en Fotografía y Medios Alternativos. Centro de la Imagen, Mexico City, Mexico.
Prizes / Fellowships
- 2003: Jovenes Creadores, FONCA.
- 2007: Residencias en el Extranjero, FONCA/ISCP NYC.
- 2008: Fomento y Coinversiones Culturales, FONCA.
- 2010: Premio Tequila Centenario al Artista Emergente, ZONA MACO.
- 2013: Fondo para Publicaciones, Fundación/Colección Jumex.
- 2013: Jovenes Creadores, FONCA.
Solo Exhibitions
- 2013: “Requiem“, Sala de Arte Público Siqueiros, Mexico City, Mexico.
- 2012: “Ein Ungerhueurliches Beispiel von Sozialismus”, V.F.K.U. Rosa-Luxemburg-Platz, Berlin, Germany.
- 2012: “La Guerra de las Termitas”, Galería 11×7, Buenos Aires, Argentina.
- 2011: “A measure for some things“, Henrique Faria Fine Art, NYC, USA.
- 2011: “Ask Google”, Saw Gallery, Ottawa, Canada.
- 2010: “Made in Italy”, Galleria Galica, Milan, Italy.
Group Exhibitions
- 2013: “Obra Colección”, Foto Colectania, Barcelona, Spain. Curated by Joan Fontcuberta.
- 2013: “Formas y Pasajes”, Centro de las Artes, Monterrey, Mexico City, Mexico.
- 2012: “Tiempo de Sospecha”, Museo de Arte Moderno, Mexico City, Mexico.
- 2012: “The Black Market of Translation”, NGBK and Kunstraum Kreuzberg, Berlin, Germnay.
- 2011: “Social Media”, Pace Gallery NY, USA.
- 2011: “Patria o Libertad”, MOCA Toronto, Canada.
Publications
- Miscomunication: Baragouins, Giberish and Googledygook. 2008. Catálogo de Expoisición. Die Kurt Gödel Bibliothek. 2014. Ed. Sicomoro.
Collections
Links
- Emilio Chapela, “Imbalance”, 2011, Formica (HPL) and plywood, 48 x 17 x 17 in. Image courtesy of the artist.
- Emilio Chapela, “512 Drinks”, 2008, Series: 3+2AP, C-prints and aluminum frames, 700 x 201 cm. Image courtesy of the artist.
- Emilio Chapela, “Taco Bell”, 2011, Series: Unique, Acrylic on canvas, 200 x 100 cm. Sayago & Pardon Collection. Image courtesy of the artist.
- Emilio Chapela, “Illy-Lavazza”, 2010, Series: Unique, Acrylic on canvas, 220 x 200 cm. Image courtesy of the artist.
- Emilio Chapela, “Oli di Oliva”, 2010, Series: 3+2AP, C-prints and aluminum frames, 100 x 150 cm. Image courtesy of the artist.
- Emilio Chapela, “Tea Party, Democrats, Republicans”, 2011, Series: Unique, Paint and MDF, Variable dimensions. Location: NYC / Artist Pension Trust. Image courtesy of the artist.
- Emilio Chapela, “Narco”, 2011, Series: Unique, Formica and MDF, Variable dimensions. Image courtesy of the artist.
- Emilio Chapela, “Religión, Ciencia”, 2011, Series: Unique, Plywood and MDF, Variable dimensions. Image courtesy of the artist.
- Emilio Chapela, “Finnegan’s Wake”, 2012, Series: 1+AP, Inkjet print, 60 x 120 cm. Sayago & Pardon Collection. Image courtesy of the artist.
- Emilio Chapela, “Pepsi (history)”, 2012, Series: Unique, Acrylic on MDF, 270 x 25 cm. Image courtesy of the artist.
- Emilio Chapela, “Wal-Mart”, 2012, Series: Unique, Acrylic paint and MDF, 120 x 25 cm. Image courtesy of the artist.
- Emilio Chapela, “Natural Numbers 1”, 2009, Series: Unique, Paper, 10 letter sized frames. Image courtesy of the artist.
- Emilio Chapela, “Democrazia, Democracia, Democracy, Démocratie, Demokratie”, 2010, Series: Unique, Acrylic pain on canvas, Variable dimensions. Image courtesy of the artist.
- Emilio Chapela, “Peso, dollar, euro, pound”, 2010, Series: Unique, Acrylic paint on canvas, Variable dimensions. Location: Berlin (Artist Pension Trust). Image courtesy of the artist.
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 work relates to everyday life in the city, specifically of a city like Guatemala, which is considered to be one of the most dangerous in Latin America. I try to take the behavior of a society, portraying the everyday in different ways.
Mi trabajo está ligado a la vida diaria de la ciudad, específicamente de una ciudad como Guatemala, considerada una de las más peligrosas de América Latina. Trato de llevar el comportamiento de una sociedad, retratando de diferentes maneras la cotidianidad.
Selected Biographical Information
Education / Training
- Escuela Nacional de Artes Plásticas Guatemala.
Prizes / Fellowships
- 2013: Juannio, Guatemala.
- 2006: Bienal de arte Paíz, Guatemala.
Solo Exhibitions
- 2013: “Vertigo”, Centro municipal de arte y cultura en la ciudad de Guatemala, Guatemala.
- 2012: “COLONIA”, galería “La Botica Cultural” de Ciudad de la Imaginación, Guatemala.
- 2011: “Revisiones”, galería Ex-Céntrico de la cooperación española, Guatemala.
- 2007: “HOMO-LOGO”, galería Carlos Woods Arte Antiguo y Contemporáneo, en Ciudad de Guatemala, Guatemala.
- 2006: “Biografía Completa”, Arte La Fábrica, Ciudad de Guatemala, Guatemala.
Group Exhibitions
- 2013: “Raw Material / Materia Prima”, Diablo Ross + Proyectos Ultravioleta + Sultana + La Central + Yautepec, Mexico City, Mexico.
- 2013: “Post Después del Genocidio”, Centro para las artes visuales, Ciudad de Guatemala, Guatemala.
- 2013: “Así que se vaya”, Proyectos Ultravioleta, Ciudad de Guatemala, Guatemala.
- 2013: “Proyectos Ultravioleta presenta”, proyectos Ultravioleta, Ciudad de Guatemala, Guatemala.
- 2013: “Subasta de Arte Latinoamericano Juannio 2013”, Museo de Arte Moderno, Ciudad de Guatemala, Guatemala.
- 2013: “Forma y Sustancia Festival de Performance”, Ciudad de Guatemala, Guatemala.
- 2012: “Proyectos Ultravioleta presenta”, Christinger De Mayo and Proyectos Ultravioleta, Zurich, Switzerland.
- 2012: “En la curvatura del tiempo: Arte y mujer”, Museo de Antropología e Historia, Ciudad de Guatemala, Guatemala.
- 2012: “Así que se vaya”, Kamin y Proyectos Ultravioleta, Comalapa, Guatemala.
- 2012: “Así que se vaya”, Proyectos Ultravioleta, Quetzaltenango, Guatemala.
- 2012: “Convivir y Compartir”, XVIII Bienal de arte Paiz, Ciudad de Guatemala, Guatemala.
- 2012: “Trienal Poli/gráfica”, San Juan, San Juan, Puerto Rico.
- 2012: “La ciudad”, Centro Cultural Metropolitano, Ciudad de Guatemala, Guatemala.
- 2011: “Me asusta pero me gusta”, Diablo Rosso, Ciudad de Panama, Panama.
- 2011: “Hoja Blanca”, exposición intinerante entre Suiza y Guatemala.
- 2011: “Ciudad como escenario e idea”, Galeria Kilometro 0, ciudad de Guatemala, Guatemala.
- 2011: “Experi[mental]”, Latin American Art on the Cusp of Contemporary, Los Angeles, USA.
Publications
- Art Nexus.
- Revista Bild Punk.
- Convivir y Compartir.
- Contemporary Languages from Centro América.
- Revista Digital de Arte y literatura.
- Revista Rara.
Collections
- Sayago y Pardon, USA.
- Blanton Museum Austin Texas, USA.
- Colección Ortiz Gurdian, Nicaragua.
Links
- Jorge de León, “Sin Título (blocks #3)”, 2013, Series: Colonia, Acrylic on cut canvas, 33 x 43 cm. Photo credit: Nora Pérez. Image courtesy of the artist
- Jorge de León, “Sin Título (Colonia #2)”, 2013, Series: Colonia, Upholstery tape and pins, Variable dimensions. Photo credit: Nora Pérez. Image courtesy of the artist
- Jorge de León, “Sin Título (Block #2)”, 2013, Series: Colonia edición 2/3, Cut paper on wall, 20 pieces of 26 x 15 each, organized in variable dimensions. Sit-specific project. Image courtesy of the artist
- Jorge de León, “Block #6”, 2013, Series: Colonia, Cut paper74 x 54 cm. Image courtesy of the artist
- Jorge de León, “Block #5”, 2013, Series: Colonia, Cut paper, 74 x 54 cm. Image courtesy of the artist
- Jorge de León, “Block #4”, 2013, Series: Colonia, Cut paper, 74 x 54 cm. Image courtesy of the artist
- Jorge de León, “Combustión”, 2012, Series: Acciones cotidianas, Video performance, 7 minutes installation, Variable dimensions. Photo credit: Nora Pérez and Ana Cosenza. Image courtesy of the artist
- Jorge de León, “Sin Título (Cristal #6)”, 2012, Series: Date. Photo credit: Byron Marmol. Image courtesy of the artist
- Jorge de León, “Antigua Combustión”, 2013, Series: Acciones cotidianas, Street intervention, video installation, 5 minutes, Variable dimensions. Photo credit: Bernardo Euler and Daniel Chauche. Image courtesy of the artist
- Jorge de León, “Loop”, 2010, Series: Acciones cotidianas, Video performance, 7 minutes, Site-specific project. Location: Guatemala. Photo credit: Jenifer Alburez and Percy Cantillo. Image courtesy of the artist
- Jorge de León, “Visor”, Octubre 2013, Series: Date, Zinc plate -found object, 174 x 88 cm. Sayago & Pardon Collection. Photo credit: Mariella Franco
- Jorge de León, “Visor #3”, Octubre 2012, Series: Date, Zinc plate -found object, 174 x 88 cm. Photo credit: Mariella Franco
About the Artist
¨Where are we when we are in the world?¨
This question has led me to explore the notions of space and place.
My constructions and environments are mostly made out of various found objects, images and materials, some of them belonging to a domestic, industrial or construction milieu. The site, its space and architectural components are key in shaping the works. I use straight lines and the continuous expanse they occupy and define. Thus, my works approximate provisional drawings in space and about space, aiming at a perceptual, pre-reflexive experience.
The process begins with the creation of three-dimensional structures which in turn, give place to drawings on paper that allow me to complete the concept.
—
Construyo estructuras y ambientes condicionados por el sitio en cuestión, que se relacionan íntimamente con los elementos arquitectónicos vecinos. Se trata de corporeizar el espacio, volviéndolo parte esencial de la obra. Utilizo materiales y objetos encontrados pertenecientes a lo cotidiano, a la construcción y al desecho. Más que esculturas o instalaciones, se trata de dibujos provisionales en el espacio tendientes a desaparecer. Me interesa la experiencia perceptual, pre-reflexiva, que coloca al espectador en un instante de conciencia de sí mismo.
El proceso comienza con la creación de una estructura tridimensional, la cual a su vez, da lugar a dibujos sobre papel que me permiten completar la idea.
Selected Biographical Information
Education / Training
- Facultad de Arquitectura, Universidad de San Carlos de Guatemala.
- Universidad Francisco Marroquín, Economy, cum laude.
- Independent studies with Juan de Dios González and Daniel Schafer.
Prizes / Fellowships
- 1996: Glifo de oro X Bienal de Arte Paiz, Ciudad de Guatemala, Guatemala.
- Beca Rockefeller, Bellagio, Italy.
Solo Exhibitions
- 2014: “The Corrections“, The 9.99 Gallery, Guatemala City, Guatemala.
- 2014: “Proyect Room – PRESENT 2: Alma Ruiz presents Diana de Solares“, Josee Bienvenu Gallery, New York City, USA.
- 2013: “Prótesis”, Piegatto Arte, Guatemala.
- 2013: “En Tránsito”, Sol del Rio Arte Contemporánea, Guatemala.
- 2011: “Islas”, Galería Arte Piegatto, Guatemala.
- 2008: “Dibujos calculados con lineas encontradas”, Galería Carlos Woods Arte Contemporáneo y Antiguo, Guatemala.
- 2008: Fase II de “El color de la sombra”, Galería Carlos Woods Arte Contemporáneo y Antiguo, Guatemala.
- 2008: “Correr, caminar, sentarse y esperar”, Galería Sol del Río, Guatemala.
- 2006: “Aquel mundo existente”, Galería Arte La Fábrica, Guatemala.
- 2004: “Créche”, Galería Arte La Fábrica, Guatemala.
- 2001: “La estrategia de las apariencias”, Galería Sol del Río – Hotel Intercontinental, Guatemala.
- 2001: “Curaduria de la representacion Guatemalteca”, VII Bienal de Pintura de Cuenca, Cuenca, Ecuador.
Group Exhibitions
- 2014: “Length x Width x Height“, The 9.99 Gallery, Guatemala City, Guatemala.
- 2014: “Dirty Geometry“, Mana Contemporary, Miami, USA.
- 2013: “Estar parado en el encuentro de dos eternidades, el pasado y el futuro, que es precisamente el momento presente”, [To stand where two eternities meet, the past and the future, that is precisely the present moment], Concepción 41, Antigua Guatemala, Guatemala.
- 2013: “Y… ¿entonces?”, The 9.99 Gallery, Ciudad de Guatemala, Guatemala.
- 2010: “Existir en un estado de peligrosa distracción”, XVII Bienal de Arte Paiz, Guatemala.
- 2009: “Nuestro paisaje”, Centro Cultural de España, Guatemala.
- 2009: “Pintura, el proyecto incompleto”, Centro de Formación de la Cooperación Española (CFCE), Antigua Guatemala, Guatemala.
- 2008: “Todas las estructuras son inestables”, XVI Bienal de Artes Paiz Guatemala.
- 2008: “Dibujando nada”, Galería 9.99/Proyecto, Guatemala.
- 2007: “Adios indentidad”, Centro Cultural de España, Guatemala.
- 2005: “Ensayo”, Edge Zones, Miami, USA.
- 2004: “Index Miami”, Edge Zones, Miami, USA.
- 2004: “Guatemala manéjese con cudiado”, Centro Cultural de España, Guatemala.
- 2004: “REGISTRO #2”, Galería Sol del Río Arte Contemporáneo, Guatemala City, Guatemala.
- 2003: “En el filo”, [On the edge], Museo de Arte Moderno de Mérida Juan Astorga Anta, Mérida, Venezuela.
- 2002: “Picturing the female body”, The Latin Collector Gallery, New York.
- 2002: “artISTMO”, Museo de Arte y Diseño Contemporáneo (MADC), San José, Costa Rica.
- 2001: “Arquetipos” ,[archetypes], Museo de Arte y Diseño Contemporáneo de San José (MADC), San José, Costa Rica.
- 2001: “Contexto”, [Context], Arte Contemporáneo Guatemalteco, Sala Municipal de Exposiciones de la Iglesia de las Francescas, Valladolid, Spain.
- 2001: “Fronteras adyacentes”, [adjacent borders], Galería Sol del Rio Arte Contemporáneo, Guatemala City, Guatemala.
- 2001: “Hector y Lyuba”, VII Bienal de La Habana, Havana, Cuba.
Publications
- “Recolectar, pensar y otros nomadismos”, El Periodico, Cultura, (Pag. 22) (27-febrero-2008) Ribeaux, Ariel.
- “Diana de Solares: Desplazamientos”, Revista de la Universidad de San Carlos de Guatemala (Pag. 63) (No. 7 enero-marzo 2004).
- “Diana de Solares”, Ext. Cat. Arte Sabasta, (2000) Schloesser, Anabella.
- “La Brevedad del Ser”, Revista De la Universidad de San Carlos de Guatemala (Pag. 71) (No. 7, enero-marzo 2004).
Collections
- Teófilo Cohen, Mexico.
- Anabella y Fernando Paiz, Guatemala.
- Hugo Quinto y Juan Pablo Lojo, Guatemala.
- Darío Escobar, Ciudad de Guatemala, Guatemala.
- Rina Carvajal, Miami, USA.
- Diana y Luis Miguel Castillo, Guatemala.
- Irene Torrebiarte, Guatemala.
Links
- Diana de Solares, “Nube (Construcción Aérea No.1) / Cloud (Aerial Construction No.1)”, 2014, Steel, iron, concrete, brick and lime, Variable dimensions.
- Diana de Solares, “Untitled”, 2014, Acrylic on MDF, 45 x 23.75 x 2.5 cm.
- Diana de Solares, “Súbitamente un mundo frente al mundo comenzaría a transpirar.” (Construcción suave no. 3) / “Suddenly a World Before the World Would Begin to Transpire.” (Soft construction no. 3)”, 2014, Sports shoe laces, construction iron, Variable dimensions.
- Diana de Solares, “Untitled”, 2014, Acrylic on cotton paper, 56 x 76 cm.
- Diana de Solares, “Untitled”, 2014, Acrylic on MDF, 45 x 23.75 x 2.5 cm.
- Diana de Solares, “Construcción fija no. 1 / Fixed construction no. 1”, 2014, MDF and acrylic, 127 x 23 x 23 cm.
- Diana de Solares, “Untitled”, 2014, Acrylic on cotton paper, 56 x 76 cm.
- Diana de Solares, “Implosión de la esfera / Implosion of the Sphere”, 2014, Dry branches, iron wire and sports shoe laces, Variable dimensions.
- Diana de Solares, “Untitled”, 2014, Found wood, iron, lace, MDF and acrylic, 148 x 22 x 22 cm.
- Diana de Solares, “Construcción fija no. 4 / Fixed construction no. 4”, 2013-2014, MDF and acrylic, 148 x 17 x 7.5 cm.
- Diana de Solares, “Untitled”, 2014, Acrylic on cotton paper, 56 x 457 cm.
- Diana de Solares, ““Penetrar un Espacio Material de Irradiancia” (“To Enter a Material Space of Radiance”)”, 2013, Acrylic on MDF, Variable dimensions.
- Diana de Solares, “Sin título (Untitled)”, 2013, Shoelaces from tennis shoes and steel structure, 23.6 x 23.6 in. (60 x 60 cm). Photo credit: José Enrique López-Campang
- Diana de Solares, “Untitled”, 2013, Acrylic on linen, 57 x 67 x 3 cm.
- Diana de Solares, “El Mundo Está Listo para Nosotros Porque Somos el Mundo” (“The World is Ready for Us Because We are the World”)”, 2013, Steel and wire, 48 x 48 in. (121.92 x 121.92 cm). Photo credit: Galería Piegatto Arte (Víctor Martínez)
- Diana de Solares, “Tanto Pertenecemos al Mundo que Contiene Nuestro Olor” (“We So Belong to the World that It Contains Our Odor”)”, 2013, Construction wood, acrylic on MDF and nails, 47.24 x 19.69 in. (130 x 50 cm). Photo credit: Galería Piegatto Arte (Victor Martinez)
- Diana de Solares, “Lentamente Disolvernos en el Mundo” (“To Dissolve Slowly in the World”), 2013, Steel and acrylic on MDF, 72 x 36 in. (182.88 x 91.44 cm). Photo credit: Galería Piegatto Arte (Victor Martinez)
- Diana de Solares, “Apenas Desoculta el Lugar de Habitación” (“It Barely Unveils the Dwelling Space”), 2013, Acrylic on MDF, 46.06 x 4.33 x 19.69 in. (117 x 11 x 50 cm). Photo credit: Galería Piegatto Arte (Victor Martinez)
- Diana de Solares, “Sin título (Untitled)”, 2012, Acrylic on MDF, 51.19 x 1 in. (130 x 2.54 cm). Darío Escobar Collection, Guatemala. Photo credit: Juan Carlos Mencos
- Diana de Solares, “Sin título (Untitled)”, 2012, Acrylic on linen and object on MDF, 40.15 x 25.6 in. (102 x 65 cm). Photo credit: Juan Carlos Mencos
- Diana de Solares, “Abrir un Espacio que no se Puede Cerrar” (“To Open Up a Space That Cannot Be Closed”), 2011, Acrylic on MDF, 88 x 10 in. (223.52 x 25.4 cm). Teófilo Cohen Collection, Mexico. Photo credit: Galería Piegatto Arte (Victor Martinez)
- Diana de Solares, “Pausa con Silencio II” (“Pause with Silence II”), 2011, Acrylic on MDF, 20 x 20 in. (50.8 x 50.8 cm). Photo credit: Galería Piegatto Arte (Victor Martinez)
- Diana de Solares, “Construcción Fija que Quiso Volar” (“Fixed Construction that Wished to Fly”), 2011, Painted steel, threads and shreads, 43 x 11.81 in. (109.22 x 30 cm). Colección Hugo Quinto y Juan Pablo Lojo, Guatemala. Photo credit: Galería Piegatto Arte (Victor Martinez)
- Diana de Solares, “No Hay Ruta Corta al Paraíso” (“There’s no Shortcut to Paradise”), 2008, Acrylic on MDF, wire, cable from an iron and bristle from a broom, 58.66 x 35.82 in. (149 x 91 cm). Hugo Quinto y Juan Pablo Lojo Collection, Guatemala. Photo credit: Alan Benchoam
- Diana de Solares, “Y Si No Fueran Sombras las Sombras” (“And If Shadows Were Not Shadows”), 2008, Pink room, dry sticks, cables, fragments of hose, steel and thread, 110.24 x 90.55 in. (280 x 230 cm). Photo credit: Alan Benchoam
Selected Biographical Information
Education / Training
- 1997: Escuela Nacional de Bellas Artes “Prilidiano Pueyrredón” (Instituto Universitario Nacional del Arte), Profesorado Nacional de Pintura, Buenos Aires, Argentina.
Prizes / Fellowships
- 2008: Residency: Lugar a dudas, Cali, Colombia.
Solo Exhibitions
- 2013: “On Drawing”, Sicardi Gallery, Houston, USA.
- 2009: “Firmamento”, Turbo Galeria, Buenos Aires, Argentina.
- 2008: “La conquista del espacio, segunda parte, Star Worse”,with Andrés Toro, Le bar Buenos Aires, Argentina.
- 2007: Exposición sin título, Galeria Ruth Benzacar, Buenos Aires, Argentina.
- 2007: “Fiesta”, instalación en vitrina, CCEBA, with Bárbara Kaplan, Buenos Aires, Argentina.
- 2006: “For Esport”, instalación de sitio especifico en la vidriera del CCEBA, Buenos Aires, Argentina, with Andrés Toro y Fernando Brizuela.
- 2005: “Grafito sobre papel”, Alianza Francesa, Buenos Aires, Argentina.
- 2005: “Star Worse”, Sonoridad Amarilla, with Andrés Toro, Buenos Aires, Argentina.
- 2005: “Dibujos”, El Borde Arte Contemporáneo, Buenos Aires, Argentina.
- 2001: “Fiat Lux”, exposición de objetos, Espacio Giesso Reich, Buenos Aires, Argentina.
Group Exhibitions
- 2013: Open Studio #7 “Poéticas en tránsito”, BSM art Building, Buenos Aires, Argentina.
- 2012: “Ultimas tendencias II”, Museo de arte Moderno de Buenos Aires, Argentina.
- 2012: “Vantage point”, The Mission, Chicago, USA.
- 2011: “Transition”, The Mission, Chicago, USA.
- 2011: “Campo de asociaciones”, Centro Cultural Simón Bolivar, Guayaquil, Ecuador.
- 2011: “x200mas”, Centro Cultural Recoleta, Buenos Aires, Argentina.
- 2011: Pinta Art Fair, Cecilia de Torres Gallery, New York, USA.
- 2010: “Del piso al techo”, Chez Gautier Galería.
- 2008: Carolina ruiz, Florencia Guillen y Mariano Dal Verme. Exposición en las habitaciones de la residencia Lugar a dudas, Cali, Colombia.
- 2008: “Las entrañas del arte”, Espacio Imago, Buenos Aires, Argentina.
- 2006: “Dibujo próximo”, Centro Cultural Rojas, Buenos Aires, Argentina.
- 2006: Premio OSDE, (disciplina: dibujo).
- 2005: Bienal de Bahía Blanca, Museo de Arte Contemporáneo de Bahía Blanca, Buenos Aires, Argentina.
- 2005: “Z-lab, (una selección una exposición en proceso)”, Zabaleta Lab, Curator: Victoria Noorthoorn.
Publications
- Poéticas contemporaneas, Apuntes y aproximaciones, Itinerario de las artes visuales en Argentina de los 90 al 2010, Fondo Nacional de las Artes.
Collections
- Malba, Colección Costantini, Buenos Aires, Argentina.
- Colección Herlitzka, Buenos Aires, Argentina.
- Colección Bruzzone, Buenos Aires, Argentina.
- Colección Tedesco, Buenos Aires, Argentina.
- Adler collection, Houston, TX, USA.
- J. M Gille Collection, Brusels, Belgium.
Links
- Mariano Dal Verme, “Sin titulo (dibujo)”, 2013, Graphite mines on paper, 54 x 74 cm. Image courtesy of the artist.
- Mariano Dal Verme, “Sin titulo (dibujo)”, 2012, Graphite mines on paper, 54 x 74 cm. Image courtesy of the artist.
- Mariano Dal Verme, “Sin titulo (dibujo)”, 2012, Graphite mines on paper, 54 x 74 cm. Image courtesy of the artist.
- Mariano Dal Verme, “Sin titulo (dibujo)”, 2013, Graphite mines on paper, 54 x 74 cm. Image courtesy of the artist.
- Mariano Dal Verme, “Sin titulo (dibujo)”, 2013, Graphite mines on paper, 54 x 74 cm. Image courtesy of the artist.
- Mariano Dal Verme, “Sin titulo (dibujo)”, 2013, Graphite mines on paper, 54 x 74 cm. Image courtesy of the artist.
- Mariano Dal Verme, “Sin titulo (dibujo)”, 2013, Graphite mines on paper, 54 x 74 cm. Image courtesy of the artist.
- Mariano Dal Verme, “Sin titulo (dibujo)”, 2013, Graphite mines on paper, 54 x 74 cm. Image courtesy of the artist.
- Mariano Dal Verme, “Sin titulo (dibujo)”, 2013, Graphite mines and paper, 54 x 74 cm. Image courtesy of the artist.
- Mariano Dal Verme, “Sin titulo (dibujo)”, 2013, Graphite mines on paper, 54 x 74 cm. Image courtesy of the artist.
- Mariano Dal Verme, “Sin titulo (dibujo)”, 2013, Graphite mines on paper, 54 x 74 cm. Image courtesy of the artist.
- Mariano Dal Verme, “Sin titulo (dibujo)”, 2013, Graphite mines on paper, 54 x 74 cm. Image courtesy of the artist.
- Mariano Dal Verme, “A4 (dibujo)”, 2012, Graphite mines and paper, 25 x 30 x 23 cm. Image courtesy of the artist.
- Mariano Dal Verme, “Sin titulo”, 2003, Six months of sun exposure on cheap paper, 27.9 x 21 cm. Image courtesy of the artist.
- Mariano Dal Verme, “Sin titulo”, 2003, Six months of sun exposure on cheap paper, 27.9 x 21 cm. Image courtesy of the artist.
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
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 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.
- Sigfredo Chacón, “Pinturaparadaltónicos, Green”, 2011, Series: Pinturaparadaltónicos, Acrylic on canvas, 60x60cm. Private Collection. Photo credit: Constanza González
- Sigfredo Chacón, “Crucigramaconmoscas”, 1995, Series: Purapinturaabstracta, Acrylic and synthetic flies on canvas, 169x169cm. Private Collection. Photo credit: Constanza González
- Sigfredo Chacón, “Do You Copy?”, 2010, Series: Do You Copy?, Acrylic on canvas, 1232x132cm. Private Collection. Photo credit: Constanza González
- Sigfredo Chacón, “Pintura Dalmata”, 2009, Series: Purapinturaabstracta, Acrylic on canvas, 132x132cm. Private Collection. Photo credit: Constanza González
- Sigfredo Chacón, “Emotionalpainting”, 2008, Series: Emotionalpainting, Acrylic collage on canvas, 420x60cm. Private Collection. Photo credit: Constanza González
- Sigfredo Chacón, “Dibujoparadaltonicos”, 2012, Series: Pinturaparadaltonicos, Acrylic on paper, 76x57cm. Location: KaBe Contemporary Art, Miami. Photo credit: Constanza González
- Sigfredo Chacón, “Rejilla amarillo tráfico”, 1993, Series: Purapinturaabstracta, Acrylic on synthetic material and wood, 170x140cm. Private Collection. Photo credit: Renato Doncelli
- Sigfredo Chacón, “Do You Copy?”, 2009, Series: Do You Copy?, Acrylic on canvas, 132x132cm. Private Collection. Photo credit: Carlos German Rojas
- Sigfredo Chacón, “Drippings”, 2007, Series: Purapnturaabstracta, Acrylic on canvas, 122x13cm each one. Private Collection. Photo credit: Constanza González
- Sigfredo Chacón, “Pura pintura abstracta con 11 franjas y drippings”, 1999, Series: Purapinturaabstracta, Acrylic on canvas, 169x169cm. Private Collection. Photo credit: Carlos German Rojas
- Sigfredo Chacón, “Purapinturaabstracta #22”, 1995, Series: Pura pintura abstracta, Acrylic on canvas, 169x169cm. Private Collection. Photo credit: Carlos German Rojas
- Sigfredo Chacón, “Dibujo de pintura #22”, 1998, Series: Purapinturaabstracta, Lithographic ink frottage on canvas, 169x169cm. Private Collection. Photo credit: Carlos German Rojas
- Sigfredo Chacón, “Pinturaparadaltonicos”, 2011, Series: Pinturaparadaltonicos, Acrylic on canvas, 60x60cm. Private Collection. Photo credit: Constanza González
- Sigfredo Chacón, “Do You Copy?”, 2010, Series: Do You Copy?, Acrylic collage on canvas, 300x60cm. Private Collection. Photo credit: Constanza González
The inspiration for my recent work lies in Brazilian popular culture: its rituals and colours, and processes of patient making that are often based on repetition. This is a culture where materials become infused with beliefs and desires, ritually suffused with the promise of future realisation. Aware of this permeability between the everyday and the spiritual, between concrete matter and intangible memories and wishes, I employ objects as materials that reflect the way desires are ritualized through matter: medical information leaflets and containers, Bonfim wish ribbons and textile fragments become the ground that supports the work, both materially and symbolically. Ingesting medicine and tying knots on Bonfim ribbons are a way of making wishes, and of anxiously awaiting for blessings; fragments of textiles speak of the desire to remember and to be close. In common, these material elements point to the desire of a body that wishes for health, intimacy, love and prosperity; a fragile body that fears mortality.
Influenced by practices of weaving, knotting, tying, cutting, mending, darning, sewing, embroidering and covering, I interweave gestures, rhythms and improvisations based on the repetition of lines and colours. In the Doloridos series, I cover medical leaflets with white gouache, hushing them, and trace horizontal or vertical lines in blue, red, green or yellow. This series is predominantly white, and silent. Ladainhas, on the other hand, is a colourful and vibrant series, in which I use cut paper, Bonfim wish ribbons, textile fragments and colour pencils. It reflects the simple popular geometry of rag rugs and patchwork quilts, but contains voids, around which the lines form grids that resonate as voices in ecstasy or supplication.
These are abstractions where visual perception and bodily pulsation merge. They draw the gaze and invite the viewer to come closer, attracted by what is apparently a rigorous minimalist grid or a rich profusion of colours. As a reward to the attentive and unhurried gaze, the work unveils a surprise – its own materiality and traces of texts from the ribbons and leaflets, now illegible, offer other readings. The work is the white hush that silences words, the interval between voices. It is the colourful voices that cannot be silenced, and intone other words, words that convey belief and desire. The work relates to rituals of cure, purification and protection, and is intended as a materialization of songs of joy and pain.
These works are lamentations and litanies presented as white or colourful geometry.
Traducido del inglés
La inspiración en mi obra más reciente yace en la cultura popular de Brasil: sus rituales, colores y pacientes procesos de elaboración que a menudo se basan en la repetición. Esta es una cultura donde los materiales se funden con las creencias y los anhelos, ritualmente cubiertos con la promesa de realización futura. Al tanto de esta permeabilidad entre lo cotidiano y lo espiritual, entre la materia concreta y las memorias y deseos intangibles, uso objetos como materiales que reflejan la forma en la que los deseos son ritualizados por medio de la materia: folletos y contenedores de información médica, listones de deseos de Bonfim y fragmentos de textiles, se vuelven la base que soporta la obra, de manera material y simbólica. Ingerir medicina y hacer nudos en listones de Bonfim son ambas maneras de tener un deseo y de esperar ansiosamente por bendiciones. Piezas de textiles hablan del deseo de recordar y permanecer cercano. En común, estos elementos materiales apuntan al deseo de un cuerpo que anhela salud, intimidad, amor y prosperidad; un cuerpo frágil que teme a la mortalidad.
Influido por prácticas de tejido, anudado, amarrado, cortado, reparado, zurcido, costura, bordado y recubrimiento, entrelazo gestos, ritmos e improvisaciones basadas en la repetición de líneas y colores. En la serie Doloridos, cubro folletos médicos con gouache, silenciándolos y trazando líneas horizontales o verticales en azul, rojo, verde o amarillo. Esta serie es predominantemente blanca y silenciosa. Ladainhas, por otro lado, es una serie colorida y vibrante, en la que uso papel cortado, listones de deseos de Bonfim, fragmentos de textil y lápices de colores. La serie refleja la simple geometría popular de tapetes de trapo y colchas de retazos, pero contiene vacíos alrededor de los cuales las líneas forman retículas que resuenan como voces en éxtasis o suplicio.
Estas son abstracciones donde la percepción visual y la pulsación corporal se unen. Atraen la mirada e invitan al espectador a acercarse, intrigado por lo que aparenta ser una rigurosa cuadrícula minimalista o una rica abundancia de colores. Como recompensa a la mirada atenta y parsimoniosa, la obra revela una sorpresa: su propia materialidad y huellas de textos de los listones y folletos, ahora legibles, producen otras lecturas. La obra es el blanco silencio que calla las palabras, el intervalo entre voces. Son las voces coloridas que no pueden ser silenciadas y entonan otras palabras; palabras que transmiten creencia y deseo. La obra se relaciona con rituales de sanación, purificación y protección y es concebida como una materialización de canciones de alegría y dolor.
Estas obras son lamentos y letanías presentadas como geometría blanca o de colores.
Selected Biographical Information
Education / Training
- 1996-2001: Bachelor Degree, Gerrit Rietveld Academie, Amsterdam, The Netherlands.
Prizes / Fellowships
- 2002: StartsStipendia – Fonds BKVB-Amsterdam, The Netherlands.
- 2004: BasisStipendia – Fonds BKVB-Amsterdam, The Netherlands.
- 2006: WerkSubsidie – Fonds BKVB-Amsterdam, The Netherlands.
Solo Exhibitions
- 2012: “Pharmacia Deluxe”, Galeria Amparo 60, Recife, Brazil.
- 2010: “Doloridos-Coloridos”, Galeria PILAR, São Paulo, Brazil.
- 2010: “Abstractions to Die For”, Galeria da FAV, Goiânia, Brazil.
- 2009: “Unveil”, TETO Projects, Amsterdam, The Netherlands.
- 2008: “Caio, Felix, Perforations and Cuts”, Galeria VERMELHO, São Paulo, Brazil.
- 2007: Galerie Hein Elferink, Staphorst, The Netherlands.
- 2006: “B.L.U.E”, BalinHouseProjects, London, United Kingdom.
- 2005: Galerie van der Mieden, Antwerpen, Belgium.
- 2003: “White Shirts”, HUISRECHTS, Amsterdam, The Netherlands.
- 2000: “Objeto desejado (e para sempre) ausente – Drawings”, Museu de Arte Contemporânea-MAC Goiânia, Brazil.
Group Exhibitions
- 2012: “Beyond the Body”, WELKUNSTZIMMER Dusseldorf, Germany.
- 2011: “EMBRACED”, GustavsBergs Konsthall, Sweden.
- 2009: “Paper Under the Knife”, Museum of Arts and Design-MAD New York, USA.
- 2008: “SOFT-Autonomous Textiles”, Lands Museum, Linz, Austria.
- 2007: “Hard Candies”, MOTIVE Gallery, Amsterdam, The Netherlands.
- 2007: “2MOVE: Double Movement”, Sala Verónicas/Centro Párraga, Murcia, Spain.
- 2006: “G.E.B.O.R.D.U.U.R.D.”, Textil Museum Tilburg, The Netherlands.
- 2005: “Bock mit Inhalt“, Stedelijk Museum CS, Amsterdam, The Netherlands.
- 2004: “LOSS”,Célio Braga, Iris Einchenber, Suska Macket- Stedelijk Museum Bureau Amsterdam-SMBA, Amsterdam, The Netherlands.
- 2003: “B.L.U.R.”, Stedelijk Museum, Amsterdam, The Netherlands.
- 2002: “Hair Stories”, Adam Baumgold Gallery, New York, USA.
- 2002: “DISPLAY”, Stedelijk Museum, Amsterdam, The Netherlands.
Publications
- Drawing Now (Galerie Hein Elferink, 2011).
- Manifesta Journal – Journal of Contemporary Curatorship- Nr 7 2009/2010 (Mieke Bal).
- Cutting Edges-Contemporary Collage (Gestalten – Berlin) 2011.
- Jenseits Beyond the Body (Weltkunst Zimmer, Dusseldorf – 2009).
- Slash-Paper Under the Knife (Museum of Arts and Design-MAD NY, 2009).
- Exit32 – Estéticas Migratorias – Mieke Bal (Madrid, 2008).
- Célio Braga ‘Deliriously’, Ernst van Alphen, Sharing a common Skin (Staphorst, 2006).
- G.E.B.O.R.D.U.U.R.D (2006 ISBN 90 70680 750) Louise Schouwenberg ‘LOSS’ Braga/Eichenberg/Mackert, ISBN 90-809189-1-1, 2004.
- Stedelijk Museum Bulletim (Nr.06 2004) Loss (Marjan Boot).
- DISPLAY – A proposal for Municipal Art Acquisitions 2000/2001 – Stedelijk Museum Amsterdam.
- Felt/Filz- Arnoldsche Art Publishers, 2000 (peter Schmitt).
Collections
- Textile Museum Tilburg, The Netherlands MAC Goiás.
- Goiânia, Brazil.
- CODA Musem Apeldoorn, The Netherlands.
- Colecão da FAV-UFG-Go, Goiânia, Brazil.
- Marzee Collection, Nijmegen, The Netherlands.
- Fundação Jaime Camâra, Goiânia, Brazil.
- Rotasa Trust Collection, USA.
- Armando Andrade Collection, Peru.
- Chantal van Erven Dorens Collection, Amsterdam/London.
- Collectie Pieter en Marieke Sanders, Aerdenhout, The Netherlands.
- Collectie Sepp Bader, The Netherlands.
- Stedelijk Musem Amsterdam, The Netherlands.
Links
- ‘Slash: Paper Under the Knife’ overview with Chief Curator David McFadden
- ‘Full Blown’, 2004
- SMBA Amsterdam Stedelijk Museum
- Célio Braga, ‘Purple’ (Doloridos), 2011, Fragments of textiles, photography and gouache on medicine leaflets, 125 cm x 125 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil
- Célio Braga, ‘Yellow’ (Doloridos), 2011, Fragments of textiles, photography and gouache on medicine leaflets, 125 cm x 125 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil
- Célio Braga, ‘Vermelho’ (Doloridos), 2010/2011, Fragments of textiles, photography and gouache on medicine leaflets, 125 cm x 125 cm. Private Collection
- Célio Braga, ‘Blue’ (Coloridos), 2010, Wishing ribbons, fragments of textiles and oil on canvas, 100 cm x 100 cm. Image courtesy of Galeria Amparo 60, Recife, Brazil.
- Célio Braga, ‘Grey’ (Coloridos), 2011, Wishing ribbons, fragments of textiles, fragments of photography and oil on canvas, 100 cm x 100 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil
- Célio Braga, ‘Black’ (Coloridos), 2011, Wishing ribbons, fragments of textiles, fragments of photography and oil on canvas, 100 cm x 100 cm. Image courtesy of Elisio Yamada Collection.
- Célio Braga, ‘Untitled’ (Litanies), 2010, Cuts and color pencil on paper, 70 cm x 65 cm. Image courtesy of Galeria Amparo 60, Recife Brazil.
- Célio Braga, ‘Blue’ (Litanies), Blue paper, fragments of textiles, fragments of photography and wishing ribbons on medicine leaflets, 50 cm x 65 cm (irregular). Image courtesy of Galeria Pilar, São Paulo, Brazi
- Célio Braga, ‘Green’ (Litanies), 2012, Color pencil and oil color on cut paper, 120 cm x 120 cm. Image courtesy of the artist.
- Célio Braga, ‘Untitled’ (Litanies), 2011, Wishing ribbons, color pencil and oil color on cut paper, 125 cm x 125 cm. Image courtesy of Galeria Amparo 60, Recife, Brasil
- Célio Braga, ‘Untitled’ (Litanies), 2011, Fragments of textiles and color pencil on paper, 120 cm x 120 cm. Image courtesy of Galeria Amparo 60, Recife, Brasil
- Célio Braga, ‘Untitled’ (Litanies), 2012/2013, Color pencil on paper, 150 cm x 125 cm. Image courtesy of the artist
- Célio Braga, ‘Untitled’ (Litanies), 2012, Color pencil and oil color on paper, 150 cm x 125 cm. Image courtesy of the artist.
- Célio Braga,’Untitled’ (Litanies), 2012, Color pencil on paper, 150 cm x 125 cm. Image courtesy of the artist
- Célio Braga, ‘Untitled’ (Litanies), 2013, Wishing ribbons, fragments of textiles, fragments of photography and color pencil on cut paper, 150 cm x 125 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil.