Monochrome Undone
SPACE Collection
Curated by Cecilia Fajardo-Hill
October 24, 2015 – April 1, 2016
SPACE, Irvine, CA
Artists: Ricardo Alcaide, Alejandra Barreda, Andrés Bedoya*, Emilio Chapela, Eduardo Costa, Danilo Dueñas, Magdalena Fernández, Valentina Liernur, Marco Maggi, Manuel Mérida, Gabriel de la Mora, Miguel Angel Ríos, Lester Rodríguez, Eduardo Santiere, Emilia Azcárate, Marta Chilindrón, Bruno Dubner, Rubén Ortíz-Torres, Fidel Sclavo, Renata Tassinari, Georgina Bringas, Abraham Cruzvillegas, Thomas Glassford, José Luis Landet, Jorge de León, Bernardo Ortiz, Martin Pelenur, Teresa Pereda, Pablo Rasgado, Ricardo Rendón, Santiago Reyes Villaveces, Mariela Scafati, Gabriel Sierra, Jaime Tarazona, Adán Vallecillo, Horacio Zabala.
The monochrome as a focus in the SPACE Collection began in a spontaneous form and soon became a systematic field of research. This exhibition is about the contemporary monochrome in Latin America. The monochrome is one of the most elusive and complex art forms of modern and contemporary art. If we think about its origins or meaning, we find that the monochrome is many contradictory things. The monochrome is neither a movement nor a category; it is not an “ism” or a thing. It may be painting as object, the material surface of the work itself, the denial of perspective or narrative, or anything representational. The monochrome may be a readymade, a found object, or an environment—anything in which a single color dominates. The monochrome can be critical and unstable, especially when it dialogues critically or in tension with modernism. This exhibition is organized into four different themes: The Everyday Monochrome, The White Monochrome, The Elusive Monochrome and The Transparent Monochrome. These themes have been conceived to create context and suggest interpretations that otherwise might be illegible. These may overlap at times, pointing to the multiplicity of content in many of the works. The unclassifiable and variable nature of the monochrome in Latin America today is borne of self-criticality and from unique Latin contexts, to exist within its own specificity and conceptual urgency.
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El monocromo, como enfoque de SPACE Collection, comenzó de forma espontánea y a poco se convirtió en un campo de investigación sistemático. Esta exposición trata sobre el monocromo contemporáneo en América latina. El monocromo es una de las formas de arte más elusivas y complejas del arte moderno y contemporáneo. Si reflexionamos acerca de sus orígenes o su significado, nos encontramos con que puede albergar muchas cosas contradictorias. El monocromo no es un movimiento ni una categoría; no es un “ismo” ni una cosa. Puede ser la pintura como objeto, la superficie material de la obra, la negación de la perspectiva o de todo lo representativo o narrativo. El monocromo puede ser un readymade, un objeto encontrado, un cuadro o un ambiente: cualquier cosa definida como una superficie cromáticamente uniforme donde un solo color predomina. El monocromo puede ser crítico e inestable, especialmente cuando se dialoga críticamente o en tensión con el modernismo. Esta exposición está organizada en cuatro temas: el monocromo cotidiano, el monocromo blanco, el monocromo elusivo y el monocromo transparente. Estos temas han sido concebidos a fin de crear un contexto y sugerir interpretaciones que de otra manera podrían ser ilegibles. Éstos pueden superponerse a veces, apuntando a la multiplicidad de contenidos en muchas de las obras. La naturaleza indeterminada, inclasificable y variable del monocromo en Latinoamérica hoy en día es producto de la autocrítica y de los contextos propios, para existir dentro de su propia especificidad y urgencia conceptual.
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- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
- Monochrome Undone exhibition catalogue.
- Monochrome Undone exhibition catalogue.
- Monochrome Undone exhibition catalogue.
- Monochrome Undone exhibition catalogue.
Translated from Spanish
I have recently developed an investigation that proposes various relationships among concepts of space, time, landscape, sound, silence, memory, and perception. The idea of variation is understood as the metamorphosis and interaction that occurs within this glossary of concepts, and which merges a series of projects where experimentation with different media and processes function as central axis of my artistic practice, and which allows a sense of dynamics during the process of the work itself.
Based on this outline, I began an interdisciplinary project in 2013, titled Ghost Variations, which states an analogy between the evolutionary phases of a hurricane and the movements of a symphony, giving to each one of its phases a selection of formal elements and collaborative practices for its production.
Recientemente, he desarrollado una investigación que propone diversas relaciones entre los conceptos de espacio, tiempo, paisaje, sonido, silencio, memoria y percepción. La idea de variación es entendida como la metamorfosis e interacción que acontece entre este glosario de conceptos y que integran una serie de proyectos donde la experimentación con diversos medios y procesos funciona como eje de mi práctica artística, los cuales otorgan un sentido dinámico durante el proceso mismo de la obra.
Basado en este esquema, inicié en 2013 un proyecto interdisciplinario titulado Ghost Variations, el cual articula una analogía entre las fases evolutivas de un huracán y los movimientos de una sinfonía, otorgando a cada una de sus fases una selección de elementos formales y estrategias colaborativas para su realización.
Selected Biographical Information
Education / Training
- Escuela Nacional de Pintura, Escultura y Grabado La Esmeralda, Mexico City, Mexico.
- 2001 – 2006: Licienciatura en Artes Plásticas, Mexico City, Mexico.
Prizes / Fellowships
- 2013: Residencia Artística en CASA TOMADA, Sao Paulo, Brazil.
- 2009: Residencia Artística en CAPACETE, Río de Janerio, Brazil.
- 2009: Beca Arte Actual Bancomer – MACG 2009.
- 2008-09: Beca Jóvenes Creadores 2008 – 09, FONCA.
- 2004-05: Beca Jóvenes Creadores 2004 – 05, FONCA.
- 2003: Segundo lugar, Premio Philips Art Expression, X Edición, Museo de Imagen y Sonido, Sao Paulo, Brazil.
- 2003: Primer lugar, Premio Philips Art Expression, X Edición, Museo de Arte Moderno, Mexico City, Mexico.
- 2002: Mención Honorífica, Un espacio de 35 mm, Televisa, Centro de la Imagen, Mexico City, Mexico.
- 2002-03: Beca Jóvenes Creadores 2002 – 03, FECAQROO.
- 2002-06: Beca Fundación Telmex.
Solo Exhibitions
- 2013: “1st Fugue”, Kunsthalle Sao Paulo, Brazil.
- 2012: “Half Day Closing”, Pinta Art Fair, NYC, USA. (Curator: Jacopo Crivelli)
- 2012: “Ghost Variations 1 (Prelude)”, Galería Arróniz, Mexico City, Mexico. (Curator: Christian Barragán)
- 2011: “Lapses”, Hermés Store, Mexico, DF. (Curator: Tobías Ostrander)
- 2010: “Reverb“, Museo Experimental El Eco, Mexico DF. (Curator: Tobías Ostrander)
- 2010: “Pautas”, Dot Fifty One Gallery, Miami, USA.
- 2008: “Estudio”, Trolebús Galería, Mexico City, Mexico. (Curator: Ariadna Ramonetti)
- 2008: “Suspensión, alineación y balanceo”, Galería Arróniz, Mexico City, Mexico.
- 2007: “Axis”, Laboratorio Dzityá, Yucatan, Mexico.
Group Exhibitions
- 2013: “Emmathomasteca“, Galería Emma Thomas, Sao Paulo, Brazil (Curator: Marta Ramos Yzquierdo)
- 2013: “Materia Sensible“, Gabinete grafico, Museo Carrillo Gil, Mexico City, Mexico. (Curator: Caroline Montenat)
- 2012: “XV Bienal de Pintura Rufino Tamayo“, Museo Tamayo, Mexico D.F. Colectiva Mexico, Galería Baró, Sao Paulo, Brazil.
- 2011: “Re Cover”, Casa del Lago, UNAM, Mexico City, Mexico.
- 2010: Hecho en Casa, Fundación Ex – Molino, Mexico City, Mexico.
- 2010: “Arte Actual, Programa Bancomer MACG”, Museo de Arte Carrillo Gil, Mexico City, Mexico. (Curatoras: Ruth Estévez y Sarah Demeuse)
- 2009: “Trabajo de espacio”, Galería Arróniz, Mexico City, Mexico.
Publications
- 2012: MPBA, Museo del Palacio de Bellas Artes.
- 2011: ABSTRACCION TEMPORAL, Museo Experimental El Eco / UNAM / 2011.
- 2011: MEMORIAS, Casa del Lago / UNAM / 2011 + 2007.
- 2010: PROGRAMA BBVA BANCOMER – MACG.
- 2005-2009: TROLEBUS.
- 2004-2005:MEMORIAS JOVENES CREADORES 2004- 205.
Collections
- Museo de Arte Contemporáneo de Oaxaca, Mexico.
- La Colección Júmex, Mexico.
- Jorge Pérez Collection, Miami, USA.
- Joahn Hickey Collection, NY, USA.
- Sayago & Pardon Collection, Los Angeles, USA.
Links
- Omar Barquet, “Suspensión”, 2013, Color pencil, marker and collage on MDF hanging structure, 240 x 180 x 20 cm (peso 40 kg). Photo credit: Adrián Villalobos
- Omar Barquet, “Filtros”, 2010, 6 Glazed and carved wood screens, Variable dimensions. Photo credit: Mauro Giaconi
- Omar Barquet, “Division + Day After Day”, 2011, Partially sanded wood floor. Installation with letters made of carved and assembled wood, Variable dimensions. Photo credit: Adrian Villalobos
- Omar Barquet, “Reflection”, 2010, Intervened table, enamel and mirror, 120 x 70 x 150 cm. Galeria DotFiftyOne (Miami). Photo credit: Ramiro Chavez
- Omar Barquet, “Im Freien (Reverse)”, 2012, Series: Out Of Doors, Encyclopedia convers intervened with mixed techniques, audio cassette and record player with sound action and wooden ledge, 200 x 35 cm. Private Collection. Photo credit: Felipe Censi
- Omar Barquet, “Cuadrante 23 (The Nicht’s Music)”, 2012, Series: Cuadrantes, Acrylic on paper over canvas, 33 x 32 cm. Private Collection. Photo credit: Adrian Villalobos
- Omar Barquet, “Day After Day (high version)”, 2012, Series: Day After Day, Installation with brushes and carved wooden canes, 250 x 80 x 80 cm. Galeria Baró, Sao Paulo.
- Omar Barquet, “White noise + A lapse of silence (Diptico para ambos lados de un mismo muro)”, 2012, Encyclopedia convers intervened with mixed techniques, audio cassette and record player with sound action and wooden ledge, 150 x 10 x 40 cm. Photo credit: Felipe Censi
- Omar Barquet, “La Visión (Guillotina)”, 2012, Series: La Visión, Perforated, trimmed and glazed aluminum sheet. Diptych, edition of 5, 52 x 38 cm. Location: Galeria Arroníz. Photo credit: Luis Nava
- Omar Barquet, “Astilla”, 2012, Series: Ghost Variations, Fragments of a carved chair installed on wall, 15 x 30 x 45 cm. Galeria Arroniz. Photo credit: Luis Nava
- Omar Barquet, “La Chanson de la folle au bord de la mer”, 2012, Series: The Shining Paintings, Esmalte sobre puerta recortada, 108 x 74 cm. Galeria Arroníz. Photo credit: Adrian Villalobos
- Omar Barquet, “Darker Days Ahead”, 2013, Series: Horizounds, Transfer, tearing, sanding and enamel on wood, 28 x 42 cm. Sayago & Pardon Collection. Photo credit: Omar Barquet
- Omar Barquet, “Ghost Variations (Orange horizon)”, 2012, Series: Ghost Variations, Digital print, serigraphy and enamel on canvas, 180 x 370 cm (triptych). Photo credit: Adrian Villalobos
- Omar Barquet, “The song of the mad woman on the sea shore (prelude)”, 2013, Series: Ghost Variations, Mural paint, sound sculpture and action in collaboration with Fernando Soberanes y Javier Loyola, Variables. Duration: 12 min. Photo credit: Fabiola Aviña
- Omar Barquet, “Constellations hemispheres”, 2013, Series: Broken records, Vinyl record with intervened symphony through perforations. On-going project, Diameter 32 cm. Photo credit: Habacuque Lima