Artists: Vito Acconci, Artur Barrio, Rosemarie Castoro, Eduardo Costa, Cris Gianakos, Victor Grippo, Stephen Kaltenbach, Leandro Katz, Rosemary Mayer, Ana Mendieta, Marta Minujín, Hélio Oiticia, John Perreault, Regina Vater.
Acciones en la calle: Street Works in New York and Latin America circa 1970
Curator: Gillian Sneed
October 26 – December 4, 2015
Amelie A. Wallace Gallery
SUNY College
New York, NUY, USA
“Acciones en la Calle” considers the conceptual and performative strategies employed by artists in the 1960s and ’70s that rejected institutional spaces in favor of the street as the context and subject of their work. The exhibition’s point of departure is the six-part Street Works (1969-1970), a series of events during which numerous artists utilized urban public spaces in New York City’s streets as their performance and exhibition venues.
While New York is often considered the birthplace of this genre, street actions had also taken hold in Latin America, and relationships between Latin American and U.S. artists, critics, and curators developed. Latin American artists who sought exile from dictatorships or had been awarded grants came to New York, while many U.S. artists traveled to Latin America.
“Acciones en la Calle” demonstrates resonances and disjunctions between the works and their political, practical, and theoretical concerns. While the Civil Rights Movement and Vietnam War protests provided the backdrop against which street works emerged in the U.S., in Latin America limited art markets and repressive regimes left only the streets as venues for artistic intervention. These artists investigated the complex intersections of political repression, violence, and social marginalization in ways that challenged the traditional “center/periphery” model so often employed in canonical accounts of Latin American and U.S. conceptual art. Curator Sneed explains: “The relevance of these works could not be more urgent today, as activists across the Americas have returned to the streets to take action.”
The works in this exhibition revolve around three themes related to the urban setting: Site, Drift, and Debris. Site considers street works that mark or highlight the location where they unfolded; Drift engages works that wander through urban networks to produce dérives, or flows; and Debris explores what is revealed about a city’s inhabitants by the refuse that accumulates on their streets.
October 27, 2015 Raquel Rabonivich: Collaborative Performance https://abstractioninaction.com/happenings/raquel-rabonivich-collaborative-performance/Artists: Raquel Rabinovich, Jule Manna, Linda Mary Montano.
7 Hour Collaborative Glandathon: Dance, Pray, Bless at Nancy Donskoj’s
August 29, 2015
The Storefront Gallery
Kingston, NY, USA
A SEVEN HOUR EXPERIENCE GIVING GRATITUDE TO THE 7 GLANDS
Actions:
. Manna will move and dance for seven hours
. Montano will pray sounds for seven hours
. Rabinovich will give offerings (mud drawings) from her hands to everyone for one hour (6-7pm)
Each hour will reference one of the seven glands.
Image: Raquel Rabinovich, “Emergences (Hudson River)”, 2012-2014, Series: Emergences, Site-Specific Sculpture, On-site stones, Dimensions variable, Lighthouse Park, Port Ewen, New York, USA, Collection Town of Esopus, Photo credit: Camilo Rojas.
August 26, 2015 Richard Garet: ce.onl_0011 https://abstractioninaction.com/happenings/richard-garet-ce-onl_0011/Artist: Richard Garet
ce.onl_0011
Live Recordings
Contour Editions
On line recordings
- Rossana Martinez, “Tide “, 2014, Rehearsal; Concept: Rossana Martinez Performers: Bibi Calderaro, Julian Jackson, Rossana Martinez Costumes: Black pants and shirts, iridescent copper fabric, bells Documentation: Matthew Deleget, Variable dimensions. Photo credit: Melissa Staiger.
- Rossana Martinez, “Tide”, 2014, Video Still; Concept: Rossana Martinez Performers: Bibi Calderaro, Julian Jackson, Rossana Martinez Costumes: Black pants and shirts, iridescent copper fabric, bells Documentation: Matthew Deleget, Variable dimensions. Artist. Photo credit: Matthew Deleget.
- Rossana Martinez, “Body Geometry (Take Me To That Other Place)”, 2014, Series: Body Geometry, One-person performance with mountain; Concept: Rossana Martinez; Performer: Rossana Martinez; Costume: Black dress, Variable dimensions. Artist. Photo credit: Matthew Deleget.
- Rossana Martinez, “Body Geometry (Triangles)”, 2014, Series: Body Geometry, Two-person performance; Concept: Rossana Martinez; Performers: Bibi Calderaro and Rossana Martinez Costume: Yellow and green skirts; Documentation: Matthew Deleget, Variable dimensions. Artist. Photo credit: Matthew Deleget.
- Rossana Martinez, “Body Geometry (Triangles)”, 2013, Series: Body Geometry, Sketch; Two-person performance; Concept: Rossana Martinez; Performers: Bibi Calderaro and Rossana Martinez; Costume: Yellow and green skirts; Documentation: Matthew Deleget, Variable dimensions. Photo credit: Courtesy of the artist.
- Rossana Martinez, “Body Geometry”, 2011, Series: Body Geometry, One-person performance; Concept and Performer: Rossana Martinez; Costume: Blue and hot pink fabric, orange clothing; Documentation: Matthew Deleget, Variable dimensions. Photo credit: Matthew Deleget.
- Rossana Martinez, “See the World in Orange and Blue”, 2011, One-person performance; Concept and Performer: Rossana Martinez; Orange and blue paint, hands, sketchbook; Documentation: Matthew Deleget, Variable dimensions. Photo credit: Matthew Deleget.
- Rossana Martinez, “Where Soul Meets Body”, 2007, One-person performance and site-specific installation at LMCC; Concept and Performer: Rossana Martinez; Costume: Orange clothing and paint, golden shoes; Documentation: Matthew Deleget, Variable dimensions. Site-specific project. Location: Lower Manhattan Cultural Council, New York, NY, USA. Artist. Photo credit: Matthew Deleget.
- Rossana Martinez, “Glow”, 2006, One-person performance and site-specific installation at Hunter College/Times Square Galleries, NY; Concept and Performer: Rossana Martinez; Costume: Black dress and shoes, fluorescent orange spray paint; Documentation: Matthew Deleget, Variable dimensions. Site-specific project. Location: Hunter College/Times Square Galleries, New York, NY, USA. Artist. Photo credit: Matthew Deleget.
- Rossana Martinez, “Glow”, 2006, Detail; One-person performance and site-specific installation at Hunter College/Times Square Galleries, NY; Concept and Performer: Rossana Martinez; Costume: Black dress and shoes, fluorescent orange spray paint; Documentation: Matthew Deleget, Variable dimensions. Site-specific project. Location: Hunter College/Times Square Galleries, New York, NY, USA. Artist. Photo credit: Matthew Deleget.
- Rossana Martinez, “Heart on Fire”, 2006, Two-person performance; Concept and Performers: Rossana Martinez & Matthew Deleget; Costumes: Red and orange clothing, running shoes; Documentation: Unknown viewer, Variable dimensions. Site-specific project. Location: Parc de Bruxelles Warande, Brussels, Belgium. Photo credit: Unknown viewer.
- Rossana Martinez, “Crash into Me”, 2007-2010, Site-specific installation at Pratt Manhattan Gallery; Fluorescent orange and hot pink ribbons, Variable dimensions. Site-specific project. Location: Pratt Manhattan Gallery, New York, NY, USA. Museo de Arte de Caguas (MUAC), Caguas, Puerto Rico. Photo credit: Courtesy of the artist.
- Rossana Martinez, “Crash into Me”, 2007-2010, Detail; Site-specific installation at Pratt Manhattan Gallery; Fluorescent orange and hot pink ribbons, Variable dimensions. Site-specific project. Location: Pratt Manhattan Gallery, New York, NY, USA. Museo de Arte de Caguas (MUAC), Caguas, Puerto Rico. Photo credit: Courtesy of the artist.
- Rossana Martinez, “Sweet Like Candy to My Soul”, 2007, Performance and installation at Pratt Manhattan Gallery; Two turquoise folding chairs, Felix Gonzalez-Torres book, Variable dimensions. Photo credit: Courtesy of the artist.
- Rossana Martinez, “Sweet Like Candy to My Soul”, 2007, Detail; Performance and installation; Two turquoise folding chairs, Felix Gonzalez-Torres book, Variable dimensions. Photo credit: Courtesy of the artist.
I am interested in creating an experience, and a dialogue between the body and common materials. The process and result are raw and unedited. I investigate subtleties of balance and movement, breath and anatomy—based on the connection between a running and yoga practice, and my interest in dance, conceptual abstraction and performance art. My intention is to allow viewers to interpret and question the work according to their expectations about what art is and how it should appear.
Traducido del inglés
Me interesa crear una experiencia, un diálogo entre el cuerpo y los materiales comunes. El proceso y resultado es crudo e íntegro. Investigo las sutilezas del balance y del movimiento, de la respiración y la anatomía, basadas en las conexiones entre la práctica de yoga y correr, así como mi interés en la danza, la abstracción conceptual y el performance. Mi intención es el permitir a los espectadores interpretar y cuestionar la obra de acuerdo a sus expectativas de lo que el arte es y cómo debe verse.
Selected Biographical Information
Education / Training
- 1993-1996: Master of Fine Arts in Sculpture and Printmaking, Pratt Institute, Brooklyn, NY, USA.
- 1987-1991: Bachelor of Arts in Liberal Arts, University of Puerto Rico, Rio Piedras, Puerto Rico.
Prizes / Fellowships
- 2008: Mujeres Destacadas Award, El Diario La Prensa, New York, NY, USA.
- 2008: Nominated for a Rema Hort Mann Foundation Award, Rema Hort Mann Foundation, New York, NY, USA.
- 2006-2007: Workspace Residency, Lower Manhattan Cultural Council, New York, NY, USA.
- 2005: Community Arts Regrant Program, Brooklyn Arts Council, Brooklyn, NY, USA.
- 2004: Community Arts Regrant Program, Brooklyn Arts Council, Brooklyn, NY, USA.
- 2003: Artist in the Marketplace Program (AIM), The Bronx Museum of the Arts, Bronx, NY, USA.
Solo Exhibitions
- 2010: “Present”, The Engine Room, Massey University, Wellington, New Zealand.
- 2009: “Present”, Project Space Spare Room, RMIT University, Melbourne, Australia.
- 2008: “Sequence”, Gallery Sonja Roesch, Houston, TX, USA.
- 2007: “Present”, SNO, Sydney, Australia.
- 2006: “Heart on Fire”, H29, Brussels, Belgium.
- 2006: “Mind Games”, PS, Amsterdam, The Netherlands.
- 2006: “Greetings from Brooklyn”, Hebel_121, Basel, Switzerland.
- 2004: “Home”, David Allen Art & Design Gallery, Brooklyn, NY, USA.
- 2000: “Recent Works”, Wabash College, Crawfordsville, IN, USA.
Group Exhibitions
- 2014: “Making Space”, Gibney Dance, New York, NY, USA.
- 2014: “Triangles”, Ventana 244, Brooklyn, NY, USA.
- 2013: “Material Histories”, Key Projects, Long Island City, NY, USA.
- 2012: “Voces y Visiones: Gran Caribe”, El Museo de Barrio, New York, NY, USA.
- 2011: “Telefone Sem Fio”, EFA Project Space, New York, NY, USA.
- 2011: “The Weight of Jupiter”, Enjoy Public Art Gallery, Wellington, New Zealand.
- 2011: “Fluid”, Center of the Arts Gallery, Towson University, Towson, MD, USA.
- 2011: “Fluid”, Delaware Center for the Contemporary Arts, Wilmington, DE, USA.
- 2010: “Constructed Painting”, Kudos Gallery, Sydney, Australia.
- 2010: “No fue un mal entendido”, Museo de Arte de Caguas (MUAC), Caguas, Puerto Rico.
- 2010: “Informal Relations”, Indianapolis Museum of Contemporary Art, Indianapolis, IN, USA.
- 2010: “M5”, Philip Feldman Gallery, Pacific Northwest College of Art, Portland, OR, USA.
- 2009: “Partners in Love & Art”, Brooklyn Public Library, Brooklyn, NY, USA.
- 2009: “Accrochage”, Gallery Sonja Roesch, Houston, TX, USA.
- 2008: “MINUS SPACE”, MoMA PS1, Long Island City, NY, USA.
- 2007: “All is well that begins well and has no end”, 80WSE Galleries, New York University, New York, NY, USA.
- 2007: “Four Artists: Work by Recent Pratt Alumni”, Pratt Manhattan Gallery, Pratt Institute, New York, NY, USA.
- 2006: “PP III”, Hunter College/Times Square Gallery, New York, NY, USA.
- 2005: “Ideal”, Metaphor Contemporary Art, Brooklyn, NY, USA.
- 2004: “All the Numbers I Know”, The Rotunda Gallery, Brooklyn, NY, USA.
Publications
- Jackie Battenfield, The Artist’s Guide: How to Make a Living Doing What You Love (New York: Da Capo Press).
- Robert Adam and Carol Robertson, Intaglio, The Complete Safety-First System for Creative Printmaking (New York: Thames & Hudson).
- Josep Felip, “Rossana Martínez, una boricua entregada al arte”, MSN Latino, September 2010.
- Jeff Jahn, “Art & Concept interview with Jeff Jahn“, ArC: Art & Concept, August 19, 2010.
- Erin Loechner, “Rossana Martinez“, Design for Mankind, March 1, 2010.
- Phong Bui, “MINUS SPACE: The Art of Reduction”, MoMA PS1 Newspaper, Fall/Winter 2008.
- Grace Glueck, ” Presentational Painting III”, The New York Times, April 7, 2006.
- Stephen Maine, “Painting Presentation”, Artnet Magazine, April 7, 2006.
- Triangles, Ventana244, Brooklyn, NY, 2014; Essays by Melissa Staiger, Nadema Agard, Craig Olson and Stephen Westfall.
All is well that begins well and has no end, 80WSE Galleries, New York University, New York, NY, 2007. - Presentational Painting III. Hunter College/Times Square Gallery, New York, NY, 2006; Essays by Gabriele Evertz, Abbey Ryan and John Cox.
- Artist in the Marketplace (AIM), The Bronx Museum of the Arts, Bronx, NY, 2003; Essays by Amy Rosenblum-Martin and Lydia Yee.
- XIII Bienal de San Juan del Grabado Latinoamericano y del Caribe. Instituto de Cultura Puertorriqueña, San Juan, PR, 2001.
- The S-Files/Selected from the Files, El Museo del Barrio, NY, 2000; Essays by Deborah Cullen and Yasmin Ramírez.
Collections
- El Museo del Barrio, New York, NY, USA.
- Museo de Arte de Caguas (MUAC), Caguas, Puerto Rico.
- UBS , San Juan, Puerto Rico.
- Wabash College Collection of Contemporary Art, Crawfordsville, IN, USA.
Links
January 27, 2015 Omar Barquet: Ghost Variations https://abstractioninaction.com/happenings/omar-barquet-ghost-variations/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 Aníbal López A-1 53167 https://abstractioninaction.com/artists/anibal-lopez/Translated from Spanish
My work consists in propose to people a way of thinking that with plans or without them could unveil doubts or solutions. I would like to open a discourse where we could discuss themes that could help us solve our lives as a community. Basically, my work consists of questions and perspectives about the world with projections to the future, where armed conflicts are kids’ toys, for children that have faith in living and not in hating (to live without hate). Without forgetting to judge the ones who have brought us to these poverty conditions and misinformation. I do not consider myself conceptual or minimalist, but utilitarian of these mediums, as a precise way of approaching concrete subjects without much paraphernalia.
Mi trabajo consiste en proponer a las personas una forma de pensamiento que, con planes o sin ellos, descubran dudas o soluciones. Me gustaría poder entablar un discurso donde podamos discutir temas que nos ayuden a solucionar nuestras vidas en comunidad. Básicamente mi trabajo radica en interrogantes y perspectivas de un mundo con proyecciones al futuro donde los conflictos armados sean de juguete sin para niños que tengan fe en vivir y no en odiar (vivir sin odio). Pero sin olvidar juzgar a los que nos han llevado a estos estados de pobreza y mala información. No me considero conceptual ni minimalista, sino utilitario estos medios como forma precisa de abarcar temas más concretos sin tanta parafernalia.
Selected Biographical Information
Prizes / Fellowships
- 2001: Golden Lion for best young artist, 49th Venice Biennal, Venice, Italy.
- 1996: First Prize “Glifo de oro” X Bienal de Arte Paiz. Category: Invited artists. Guatemala 1994.
- 1996: First Prize “Glifo de oro” IX Bienal de Arte Paiz. Guatemala.
- 1996: First Prize “Mención de honor” IX Bienal de Arte Paiz, Category: General. Guatemala.
Solo Exhibitions
- 2004:”Anibal López – A-1 53167″, Fondazione Adriano Olivetti, Rome and Associazione Prometeo per l’Arte Contemporanea, Lucca, Italy.
Group Exhibitions
- 2011: “Economía informal”, (Ex)Céntrico – Centro Cultural de España en Guatemala, Guatemala City, Guatemala.
- 2007: “Cátedra arte de la Conducta”, La Habana, Cuba.
- 2006: “Colectiva”, prometeogallery di Ida Pisani, Milan, Italy.
- 2006: “Drawings on paper”, Carlos Woods Gallery, Guatemala City, Guatemala.
- 2006: “The Power of Economy”, Festival dell’economia, Galleria Civica di Arte Contemporanea, Trento, Italy.
- 2006: “Frontera corozal. Un chol fotografando a un lacandon”, Chiapas, Mexico.
- 2005: “Gratis”, Sol del Rio Arte Contemporaneo, Guatemala City, Guatemala.
Publications
- UNIVERSES IN UNIVERSE. Entrevista con Pat Binder & Gerhard Haupt, durante la 49na. Biennale di Venezia.
- Viviane Lorea, Catalogo: Mesoamerica, Osilaciones y Artificios.Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria Pags.: 32, 33, 127, 129,
- Catalogo: Last Minute, Verso la Fine Dell’eternita A cura di Lara facco e Lino Baldini, 12 di Maggio – 16 giugno 2002 Organizzazione a Cura delle Gallerie
- Pianisimo (Milano) e Placentia Arte (Piacenza) Pag.: 42.
- Rocina Cazali, Catalogo di la 49 Biennale di Venezia, Italia
- Javir Fuuentes Feo Revista magna Terra
- Ariel Riwo, Revista Magna Terra
- A-1 53167 Aníbal López, “Contaminación visual”, 2013, Installation, pencil on wall. Location: 9-99 Project, Guatemala
- A-1 53167 Aníbal López, “Línea”, 2013, Ink on paper.
- A-1 53167 Aníbal López, “El proceso, Córdoba, Argentina. Fabricación de una caja de concreto en cuyo interior se colocaron fotografías de personas desaparecidas, posteriormente se destruyó.”, 2011
- A-1 53167 Aníbal López, “El proceso, Córdoba, Argentina. Fabricación de una caja de concreto en cuyo interior se colocaron fotografías de personas desaparecidas, posteriormente se destruyó.”, 2011
- A-1 53167 Aníbal López, “9mm”, 2009, Marble sculpture intervened with 9mm bullets
- A-1 53167 Aníbal López, “Escultura pasada de contrabando de Paraguay a Brasil”, 2007, 500 boxes illegally transported from Paraguay to Brazil
- A-1 53167 Aníbal López, “Dibujos sobre papel”, 2006, Site specific project. Location: Galería Carlos Woods
- A-1 53167 Aníbal López, “Dibujos sobre papel”, 2006, Site specific project. Location: Galería Carlos Woods
- A-1 53167 Aníbal López, “Arma de defensa personal”, 2005, Performance, peddler was asked to sell river stones. Location: Guatemala City.
- A-1 53167 Aníbal López, “Arma de defensa personal”, 2005, Performance, peddler was asked to sell river stones. Location: Guatemala City.
- A-1 53167 Aníbal López, “Listón de Plástico Negro de 120 m de largo x 4 m de ancho colgado sobre el Puente del Incienso”, 2002, Black plastic strip, 120 m long x 4 m.
- A-1 53167 Aníbal López, “30 de Junio. Guatemala, Guatemala.Diez sacos de carbon esparcidos sore la sexta avenida, una de las calles principals de la ciudad de Guatemala, sobre la que desfila (por última vez) el ejército de Guatemala. Durante el genocidio efectuado contra aldeas y campesinos indígenas, sus restos fueron quemados y enterrados en fossa communes. A dicha operación se le llamó “tierra arrasada”. Hasta hoy existen dichos depósitos de carbon.”, 2000, Ten bags of charcoal scattered on Sixth Avenue, one of the main streets of Guatemala City, on this street the Guatemalan army realized a parade (for the last time). This action recalls the genocide against villages and indigenous peasants, who were burned and buried in mass graves. This operation was called “scorched earth”. To this day these carbon deposits still exist.
- A-1 53167 Aníbal López, “30 de Junio. Guatemala, Guatemala.Diez sacos de carbon esparcidos sore la sexta avenida, una de las calles principals de la ciudad de Guatemala, sobre la que desfila (por última vez) el ejército de Guatemala. Durante el genocidio efectuado contra aldeas y campesinos indígenas, sus restos fueron quemados y enterrados en fossa communes. A dicha operación se le llamó “tierra arrasada”. Hasta hoy existen dichos depósitos de carbon.”, 2000, Ten bags of charcoal scattered on Sixth Avenue, one of the main streets of Guatemala City, on this street the Guatemalan army realized a parade (for the last time). This action recalls the genocide against villages and indigenous peasants, who were burned and buried in mass graves. This operation was called “scorched earth”. To this day these carbon deposits still exist.
- A-1 53167 Aníbal López, “Mancha de 55,000 puntos”, 2002, Intervention on newspaper Siglo XXI, Guatemala
- A-1 53167 Aníbal López, “Punto en movimiento”, 2002, Intervention on urban space, Guatemala
- A-1 53167 Aníbal López, “La Distancia entre dos puntos”, 2002, Sol Del Río Arte Contemporáneo, Guatemala
Translated from Spanish
Painting to me exists as an extension beyond the space-time limits where I put to test anti-epistemological values that aim to question some essentialist posture of the symbolic domain. They are sets, or sometimes equations that arise from a deliberate economy of resources and studies that explore the consequences of modernity in the representation of identitarian images (for example Casta paintings from the 19th century), or the conceptual limits of the history of modernity itself.
Para mi existe la pintura como una extensión más de los límites espacio-temporales donde pongo a prueba valores contra-epistemológicos que buscan cuestionar algunas posturas esencialistas del dominio simbólico. Son escalas, a veces ecuaciones que surgen de una deliberada economía de recursos y estudios que exploran las consecuencias de la modernidad en la representación de imágenes identitarias, (como por ejemplo la pintura de castas del siglo XIX) o bien, los límites conceptuales de la historia misma de la modernidad.
Selected Biographical Information
Education / Training
- 2010: Universidad Nacional Autónoma de Honduras, 5 años, Licenciado en Sociología, Tegucigalpa, Honduras.
- 1995: Escuela Nacional de Bellas Artes, 5 años, Maestro en Artes Plásticas, Tegucigalpa, Honduras.
Prizes / Fellowships
- 1995: Primer premio Bienal de Escultura y Cerámica, IHCI, Tegucigalpa, Honduras.
- 2007: Antología de las Artes Visuales, Tegucigalpa, Honduras.
- 2013: Premio Illy Sustain Art, Venecia.
Solo Exhibitions
- 2013: “Pintura Política”, Galería PM8, Vigo, Spain.
- 2013: “Eccepolis”, Sala Luis Miro Quesada, Lima, Perú.
- 2012: “Frescos Fetiches”, Centro de Artes Visuales, Tegucigalpa, Honduras.
- 2012: “Charter City”, Museo de Arte y Diseño Contemporáneo, San José, Costa Rica.
- 2012: “Sedimentos”, Ex-Teresa, Arte Actual, Mexico City, Mexico.
- 2012: “Topografías”, Solo Project, ARCO Madrid, Spain.
- 2011: Galería 80m2, Lima, Perú.
- 2008: “Dis-tensiones”, Centro Cultural de España, Tegucigalpa, Honduras.
- 2007: “Sociedad Ilícita”, Fundación Teorética, San José.
- 2007: “Denominaciones y Retroscopías”, Costa Rica.
- 2006: “El Poder de la Asepsia”, Image Art Factory Foundation, Belize City, Belize.
- 2005: Galería Portales, Tegucigalpa, Honduras.
- 1995: “Panópticos”, Galería Paradiso, Tegucigalpa, Honduras.
Group Exhibitions
- 2013: “California-Pacific Triennial”, Orange County Museum of Art, CA, USA.
- 2013: Musem of Latin American Art, Long Beach C.A, USA.
- 2013: “Intersections”, 7a Bienal de Curitiba, Brazil.
- 2012: “You will never walk alone again”, Radiator Gallery, New York, USA
- 2012: “Caribbean: Crossroads of the World”, Museo del Barrio, New York, USA.
- 2011: “(S) Files”, Bienal del Museo del Barrio, New York, USA.
- 2011: “Entre Siempre y Jamás”, 54 Bienal de Venecia, Italy.
- 2011: “Miradas Sin coordenadas”, La Casona, Galería 80m2, Lima, Perú.
- 2011: “Triangulo C-S-C, video arte de América Latina”, Ex Teresa Arte Actual, Mexico City, Mexico.
- 2010: Muestra Internacional de Performance, Mexico City, Mexico.
- 2010: Bienal del Istmo Centroamericano, Managua, Nicaragua.
- 2010: I Trienal del Caribe, Santo Domingo, República Dominicana.
- 2010: Bienal de Artes Visuales, Tegucigalpa, Honduras.
- 2010: Bienal de Pontevedra, Spain.
- 2010: Centroamérica Unida por el Arte, El Sitio, Antigua Guatemala.
- 2009: Centro Cultural de España, San Salvador, El Salvador.
- 2009: “Migraciones. Mirando al sur”, La mancha de tomate, Tegucigalpa, Honduras.
- 2009: “Pintura. Proyecto Incompleto”, Centro de Formación de la Cooperación Española, Antigua, Guatemala.
- 2009: Fortaleza de San Carlos de la Cabaña, la Habana, Cuba, Décima Bienal de la Habana, Cuba.
- 2009: ” Nostalgia de Futuro”, Museo de Arte Contemporáneo, Valencia, Spain.
- 2009: “Migraciones. Mirando al sur”, Centro de Cultura Hispánica, Tegucigalpa, Honduras.
Publications
- Fuentes Guaza, Luisa. Ustedes Nosotros, editorial Index Book, España, 2010, 303 pag.
- Fuentes Guaza, Luisa. Lenguajes Contemporáneos desde Centro América, 2013, 400 pag.
Collections
- Daros Latin-américa, Zurich, Switzerland.
- Colección Patricia Phelps de Cisneros, Nueva York-Caracas.
- Museo de Arte y Diseño Contemporáneo, San José, Costa Rica.
- Fundación Teorética, San José, Costa Rica.
- Museum of Latin American Art (Molaa), Long Beach, California, USA.
- Saxo Bank, Denmark.
- Fundación Ortiz-Gurdian, Leon, Nicaragua.
- Image Art Factory Foundatión, Belize City, Belize.
- Adán Vallecillo, “Pantone”, 2013, Installation, Dimensions variable. Galería 80m2, Lima, Perú. Photo credit: Adán Vallecillo.
- Adán Vallecillo, “Acordes V”, 2012, Assembly, Dimensions variable. Sayago & Pardon Collection. Photo credit: Adán Vallecillo.
- Adán Vallecillo, “Mulato”, Series: Pintura de Castas, Acrylic / canvas with embedded level, 65 x 60 cm. Sayago & Pardon Collection. Photo credit: Tomas S.K.
- Adán Vallecillo, “Topgrafía I”, 2012, Series: Topografías, Recycled tires on racks, 280 x 720 cm. CIFO Collection, Miami, USA. Photo credit: Xose Quiroa.
- Adán Vallecillo, “Loba”, 2011, Series: Pintura de Castas, Painting, 90 x 100 cm. Galería 80m2, Lima, Perú. Photo credit: Tomas S.K.
- Adán Vallecillo, “Criolla y Morisca”, 2011, Series: Pintura de Castas, Acrylic / canvas with embedded level, 90 x 95 cm. Galería 80m2, Lima, Perú. Photo credit: Adán Vallecillo.
- Adán Vallecillo, “Castiza”, 2011, Series: Pintura de Castas, Acrylic / canvas with embedded level, 60 x 65 cm. Galería 80m2, Lima, Perú. Photo credit: Tomas S.K.
- Adán Vallecillo, “Pintura Mural Curitiba”, 2013, Series: Pintura Mural, Performance, Dimensions variable. Curitiba, Brasil. Photo credit: Renan Guedes Gumiel.
- Adán Vallecillo, “Banderolas”, 2013, Series: Pintura política, Wood assembly, Dimensions variable. Galería 80m2, Vigo, España. Photo credit: Francisco Salas.
- Adán Vallecillo, “Provocación IV”, 2009, Series: Provocaciones a Mondrian, Acrylic on canvas with embedded level, 90 x 100 cm. Saxo Bank Collection, Denmark. Photo credit: Adán Vallecillo.
- Adán Vallecillo, “Provocación V”, 2009, Series: Provocaciones a Mondrian, Acrylic / canvas with embedded level, 100 x 100 cm. Private collection, Florida. Photo credit: Adán Vallecillo.
- Adán Vallecillo, “Provocación XV”, 2012, Series: Provocaciones a Mondrian, Acrylic on canvas and wood, 85 x 40 cm. Private collection, USA. Photo credit: Adán Vallecillo.
- Adán Vallecillo, “Remesa Republic V”, 2008, Series: Remesa Republic, Installation, Dimensions variable. Artist Workshop, Honduras. Photo credit: Adán Vallecillo.
- Adán Vallecillo, “Civilización IV”, 2013, Series: Civilizaciones, Rubber patches, 300 x 225 cm. Galería 80m2, Lima, Perú.
- Adán Vallecillo, “Civilización V”, 2013, Series: Civilizaciones, Rubber patches, 300 x 225 cm. Galería 80m2, Lima, Perú.
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
Selected Biographical Information
Prizes / Fellowships
- 1998: UNESCO-Aschberg, London, UK.
Solo Exhibitions
- 2013: “Stairway to Heaven”, Dot fiftyone, Miami, USA.
- 2013: “Geometría 4 en kilo”, Galería Artepuy, Caracas, Venezuela.
- 2012: “Todasana”, Venezuela.
- 2012: Hand painted drums for the tradicional Saint John Festival in the town of Todasana, Venezuela.
- 2011: Pepe López en la Residencia de Francia, French embassy in Caracas, Venezuela.
- 2010: “Oxigone punk & the gossip lines series”, Galerie 13-Jeannette Mariani, Paris, France.
- 2010: “Puño e cruces”, Galería Fernando Zubillaga, Caracas, Venezuela.
- 2009: “Money boom”, Galerie 13-Jeannette Mariani, Paris, France.
- 2008: “Big, Bang, Boom”, Galería Fernando Zubillaga, Caracas, Venezuela.
- 2008: Project room, Hardcore Art Contemporary, Miami, USA.
Group Exhibitions
- 2014: “New Territories: Design, Art and Craft from Latin America 2000-2013”, Museum of arts and design New York City, USA.
- 2014: “5×5 Real un-real”, Venezuelan American Endowment for the Arts, New York City, USA.
- 2013: “Utopías de ilusión”, Kiosco, NUBE gallery, Santa Cruz, Bolivia.
- 2012: “5×5, Real-un real”, Museo de arte Acarigua-Araure, Acarigua, Venezuela.
- 2012: “The wave”, Molaa, Los Angeles, USA.
- 2012: 6emme Bienal d’art contemporain de Marcigny, France.
- 2012: “País en vilo”, Faria-Fábregas, Caracas, Venezuela.
- 2012: “Línea crítica 2”, Artepuy, Caracas, Venezuela.
- 2012: “Blanco y negro”, Galería Fernando Zubillaga, Caracas, Venezuela.
- 2012: “Gego, testimonios y vigencia”, Museo de arte Contemporáneo, Caracas, Venezuela.
- 2011: “Línea crítica 1”, Artepuy, Caracas, Venezuela.
- 2011: “Dibujo reposicionado”, 39 Galería, Caracas, Venezuela.
- Pepe López, “Puño e cruces”, 2010, 400 bamboo kites’ structures installation, Variable and adaptable dimensions. Location: Galería Fernando Zubillaga, Caracas. Photo credit: Carlos German Rojas
- Pepe López, “Puño e cruces”, 2010, 400 bamboo kites’ structures installation, Variable and adaptable dimensions. Location: Galería Fernando Zubillaga, Caracas. Photo credit: Carlos German Rojas
- Pepe López, “Puño e cruces”, 2010, 400 bamboo kites’ structures installation, Variable and adaptable dimensions. Location: Galería Fernando Zubillaga, Caracas. Photo credit: Carlos German Rojas
- Pepe López, “La sexualidad contaminada”, 1992, Ten thousand meters of water hoses come out of the gallery walls, spreading all over the exhibition space, Variable and adaptable dimensions. Location: Sala Mendoza, Caracas. Image courtesy of the artist
- Pepe López, “Echando un Macadam”, 2006, in collaboration with dj Lupita Plata, performance consisting of a large central pile of discarded printing paper, placed in the middle of a room. The artist invites the public to spread, along with him, the scrap papers on the gallery floor, until it becomes fully covered, Variable dimensions. Location: Galería Fernando Zubillaga. Image courtesy of the artist
- Pepe López, “Echando un Macadam”, 2006, in collaboration with dj Lupita Plata, performance consisting of a large central pile of discarded printing paper, placed in the middle of a room. The artist invites the public to spread, along with him, the scrap papers on the gallery floor, until it becomes fully covered, Variable dimensions. Location: Galería Fernando Zubillaga. Image courtesy of the artist
- Pepe López, “Geometría 4 en kilo”, 2013, Puzzle of 500 cardboard cut-out pieces, resulting from the forms drawn after the projection of the buildings of Petare, Variable dimensions. Image courtesy of the artist.
- Pepe López, “Geometría 4 en kilo”, 2013, Puzzle of 500 cardboard cut-out pieces, resulting from the forms drawn after the projection of the buildings of Petare, Variable dimensions. Image courtesy of the artist.
- Pepe López, “Todosana”, 2012, Work in collaboration with artist and musician Armando Pantoja, 40 hand carved wooden drums, painted wiyh colorful geometric shapes ,Variable dimensions. Image courtesy of the artist
- Pepe López, “Todosana”, 2012, Work in collaboration with artist and musician Armando Pantoja, 40 hand carved wooden drums, painted wiyh colorful geometric shapes ,Variable dimensions. Photo credit: Paloma López
- Pepe López, “Todosana”, 2012, Work in collaboration with artist and musician Armando Pantoja, 40 hand carved wooden drums, painted wiyh colorful geometric shapes ,Variable dimensions. Photo credit: Isabela Eseverri
- Pepe López, “Mondrian meets Hansaplast”, 2005, Performance, band-aids on wall, Diameter 260 cm. Photo credit: Carlos Márquez
- Pepe López “Caracas mapa #5”, 2012, Series: Fantastic plastic, Urban Cartographies, Collage on paper, Variable dimensions, Private Collection. Photo credit: Paloma López
- Pepe López, “Caracas Showime”, 2010, Series: Fantastic Plastic, Collage on tar, Variable dimensions. Image courtesy of the artist
- Pepe López, “Geometría blanda”, 2010, 300 Chinese plastic bags, stitched one over the other, 39 x 39 cm. Private Collection. Photo credit: Carlos Germán Rojas
Selected Biographical Information
Education / Training
- 1992-1997: Profesorado de Artes Visuales. Escuela Superior de Artes Visuales “Lino Enea Spilimbergo, Bahía Blanca, Argentina.
- 1992-1995: Diseño Gráfico. Escuela Superior de Artes Visuales “Lino Enea Spilimbergo”, Bahía Blanca, Argentina.
Prizes / Fellowships
- 2012: Premio Petrobras, ArteBA 2012, con el proyecto “La Multisectorial Invisible”, junto a Guillermina Mongan, Ana Gallardo, Elisa Strada, Gustavo Doliner y Lola Granillo http://lamultisectorialinvisible.tumblr.com/
- 2012: Premio Institucional Fondo Nacional de las Artes, LXVI Salón Nacional de Rosario, Argentina.
- 2010/2011: Beca Centro de Investigaciones Artísticas, Buenos Aires, Argentina.
- 2006: Beca Nacional, Artes Plásticas, Fondo Nacional de las Artes, Argentina.
- 2003: Workshop Bogo-día, Centre du Soleil d’Afrique, coordinado por Trama y RAIN (red de iniciativa de artistas) Bienal Nacional de Fotografía, Bamako, Mali, África.
- 2003: Residencia, Centre de Art Contemporain 19, Montbeliard, Francia.
- 1998-1999: Mención Especial y Premio de Pintura “Banco Provincia”, ArteBA , Buenos Aires, Argentina.
- 1997/1999: Programa de becas para artistas jóvenes Guillermo Kuitca, Centro Cultural Borges, Buenos Aires, Argentina.
- 1996: Premio Adquisición Bienal Reg. de Bahía Blanca, Museo de Arte Contemporáneo, Argentina.
Solo Exhibitions
- 2013: “Pinturas donde estoy(1998-2013)”, curated by Claudio Iglesias, feria Eggo, Centro Cultural Recoleta, Argentina.
- 2013: “Ni verdaderas ni falsas”, Instituto de Investigaciones Gino Germani, Buenos Aires, Argentina.
- 2011: “Windows”, galería Daniel Abate, Buenos Aires, Argentina.
- 2009: “Sos un sueño”, galería Daniel Abate, Buenos Aires, Argentina.
- 2009: “¡Teléfono!”, ciclo en diálogo con Lidy Prati, curated by Ana Gallardo, Centro Cultural Borges, Buenos Aires, Argentina.
- 2005: “Scafati, un cuadro”, Belleza y felicidad, Buenos Aires, Argentina.
- 2004: “Mariam Traoré”, Escuelita Belleza y felicidad de Villa Fiorito, provincia de Buenos Aires, Argentina.
- 2002: “Óleo”, Espacio Lelé de Troya, curated by Ana Gallardo, Buenos Aires, Argentina.
- 2001: “Pintura gustosa,curada por Marcelo de la Fuente”, Casona de los Olivera, Parque Avellaneda, Buenos Aires, Argentina.
- 2001: “SHOW ME YOUR PINK”, galería Bis, Rosario, Santa Fé, Argentina.
- 2001: “He venido para decirte que me voy”, galería Belleza y felicidad, Buenos Aires, Argentina.
- 2000: “Pinturas y pared”, galería Belleza y felicidad, Buenos Aires, Argentina.
Publications
- Pinturas donde estoy (1998-2013), Sayago & Pardon.
- Revista Otra parte Nº 29, 2013, Buenos Aires, Argentina.
- Revista CIA Nº1, 2012, Buenos Aires, Argentina.
Collections
- Museo de Arte Contemporáneo de Bahía Blanca (MACBA), Argentina.
- Museo de Arte Contemporáneo de Salta (MACSA), Argentina.
- Colección Sayago & Pardon, California, USA.
- Colección de Gustavo Bruzonne, Buenos Aires, Argentina.
- Colección de Alejandro Ikonicof, Buenos Aires, Argentina.
- Colección de Alec Oxenford, Buenos Aires, Argentina.
- Colección Banco Supervielle.
- Colección Banco Provincia.
- Mariela Scafati, “CLR”, 2005, Acrylic on canvas, 11 x 45.5 cm. Photo credit: Facundo Pires
- Mariela Scafati, “Montaje de los tiempos posibles”, 2000-2007, 19 oil and acrylic paintings, various sizes, 230 x 300 cm, Site-specific project. Location: Boulogne sur Mer Buildimg, Buenos Aires, Argentina. Photo credit: Facundo Pires
- Mariela Scafati, “Sin patrón”, 2001 / 2002, Acrylic on canvas, 11 x 197 cm. Photo credit: Facundo Pires
- Mariela Scafati, “Collage”, 2007-2008, Oil on canvas, 39 x 28 cm. Photo credit: Facundo Pires
- Mariela Scafati, “13 de agosto y un agujero negro”, 2001-2007, Oil and serigraphic paint on canvas, 120 x 147 cm. Photo credit: Facundo Pires
- Mariela Scafati, “Pintura del presente”, 2011, Series: de la muestra Windows, suspended frame with rails and ropes. Photo credit: Sebastían Desbats
- Mariela Scafati, “Amarillo”, 2009, Series: de la muestra Sos un sueño, los terciooelos Sos un sueño, Oil on velvet. Photo credit: Facundo Pires
- Mariela Scafati, “Soy rojo y rosa”, 2012, Acrylic on gray cardboard, 138 x 140 cm. Photo credit: Facundo Pires
- Mariela Scafati, “Los nombres”, 2012, Acrylic on gray cardboard, 350 x 160 x 5 cm. Photo credit: CRAC 19
- Mariela Scafati, “Pinturas de memoria”, 2012, Acrylic on wood, Variable dimensions. Photo credit: CRAC 19
- Mariela Scafati, “En busca del cuadro sin nombre”, 2009, Mural of 10 layers of 35 painted posters on wall, 5 x 12 m, Site-specific project. Location: BIENAL 7A ‘Grito e Escuta’ do Mercosul, Porto Alegre, Brazil. Photo credit: Marina de Caro
- Mariela Scafati, “Te quiero sucia”, 2008, Series: de la muestra Pasos dorados, Oil on stitched canvas, 350 x 500 cm. Image courtesy of the artist
- Mariela Scafati, “Qué es banana?”, 2010, Kamishibai (Japanese paper theater) with sheets of cardboard painted with acrylic, wooden box, banners bananas with tennis rackets stands, and paddle sticks. With music by Lola Granillo. Variable dimensions. Presented in Oficina Proyectista, Buenos Aires, Argentina, and various locations.
- Mariela Scafati, “Qué es banana?”, 2010, Kamishibai (Japanese paper theater) with sheets of cardboard painted with acrylic, wooden box, banners bananas with tennis rackets stands, and paddle sticks. With music by Lola Granillo. Variable dimensions. Presented in Oficina Proyectista, Buenos Aires, Argentina, and various locations.
- Mariela Scafati, “Concreta”, 2009, Series: de la muestra Teléfono, Wood frame and packing tape. Photo credit: Nacho Iasparra
- Mariela Scafati, “Teléfono, en diálogo a Lidy Prati”, 2009, Linoleum on paper, wood and wooden supports, Variable dimensions, Site-specific project. Location: C.C.BORGES. Photo credit: Julia Iglesias
October 8, 2013 Fabiana Cruz https://abstractioninaction.com/artists/fabiana-cruz/
Translated from Spanish
Music in movement: dance. Music in poetry: song. Music in writing: a score. How to translate Music into painting? My work is born from the deep necessity to fuse my two vocations: music and visual arts. I first memorize a song, I study it. Then I choose a common place, on the sidewalk, on a wall… and I draw the music—how I hear it, how it comes out of the chalk, how I see it.
Música en movimiento: la danza. Música en poesía: una canción. Música escrita: una partitura. ¿Como traducir la Música en pintura? Este trabajo nace de una necesidad profunda de fusionar mis dos vocaciones: la música y las artes visuales. Primero memorizo la canción, la estudio. Luego escojo un lugar cualquiera, sobre la acera, en un muro… Y dibujo la música. Como la escucho, como nace bajo la tiza, como la veo.
Selected Biographical Information
Education / Training
- Master de Artes Plásticas en la Universidad de París I, La Sorbonne.
Prizes / Fellowships
- 2008: Prix Spécial du Jury, Festival Côté Cour, Paris, France.
Solo Exhibitions
- 2012: “Rhythm & Chalks, videos by Fabiana Cruz”, LA Artcore Center, Los Angeles, CA, USA.
- 2010: “SaludArte Foundation”, IdeoBox ArtSpace, Miami FL, USA.
Group Exhibitions
- 2013: “Arte Para Cuatro”, Aires de Córdoba, Córdoba, Spain.
- 2013: “Schöffer dnas le monde”, Institut Hongrois, Paris, France.
- 2012: “Venezuela en Arts”, Marcigny, France.
- 2010: “Dialogues: Chapters of Latin American Art in the MOLAA Permanent Collection”, MOLAA, Long Beach, CA, USA.
- 2010: “Toys ART US”, Curator’s Voice Project Space, Miami, USA.
- 2008: “Marked Pages II”, Sicardi Gallery, Houston TX, USA.
- 2010: “Art Dans les Bars”, Baraka productions, au O’ Duo café, Paris, France.
- 2010: 1rst International Art Triennale, Satoru Sato Museum, Tome, Japan.
- 2010: “Collect Collage”, Estudio Arte 8, Caracas, Venezuela.
- 2010: “Inestabilidad”, Marion Gallery, Panama City, Panama.
Collections
- Museum of Latin American Art (MOLAA), Los Angeles CA, USA.
- DePauw University, Greencastle IN, USA.
- Fabiana Cruz, “Imaginary Instrument #2 – “Acapella”, 2010, Series: Imaginary Instruments, Video 01:42 min. Image courtesy of the artist.
- Fabiana Cruz, “Partition Linéaire #2 – “Agitata da Due Venti”, 2013, Series: Partitions Linéaires, Video 06:00 min. Image courtesy of the artist.
- Fabiana Cruz, “Imaginary Instrument #1 – “Blackbird”, 2009, Series: Imaginary Instruments, Video 01:59 min. Image courtesy of the artist.
- Fabiana Cruz, “Partition Linéaire #5 – “Confutatis”, 2012, Series: Partitions Linéaires, Video 02:49 min. Image courtesy of the artist.
- Fabiana Cruz, “Imaginary Instrument #6 – “Inkboard”, 2012, Series: Imaginary Instruments, Video 02:05 min. Image courtesy of the artist.
- Fabiana Cruz, “Imaginary Instrument #3 – “Interactive Lines”, 2010, Series: Imaginary Instruments, Video 02:06 min. Image courtesy of the artist.
- Fabiana Cruz, “Partition Linéaire #4 – “PaintSynth”, 2010, Series: Partitions Linéaires, Video 01:54 min. Image courtesy of the artist.
- Fabiana Cruz, “Imaginary Instrument #4 – “Rhythm & Chalks”, 2011, Series: Imaginary Instruments, Video 02:09 min. Image courtesy of the artist.
- Fabiana Cruz, “Imaginary Instrument #5 – “Settle Down”, 2012, Series: Imaginary Instruments, Video 04:38 min. Image courtesy of the artist.
- Fabiana Cruz, “Partition Linéaire #3 – “Suite de Bach”, 2009, Series: Partitions Linéaires, Video 02:55 min. Image courtesy of the artist.
- Fabiana Cruz, “Imaginary Instrument #7 – “The Hand Wave”, 2013, Series: Imaginary Instruments, Video 01:48 min. Image courtesy of the artist.