For many years I have been investigating the ineffable nature of things, objects, words, thoughts. My art has always been informed by an underlying awareness of the concealed and ephemeral aspects of existence that we don’t see or that appear to be invisible. Through the processes I have explored, I try to reveal how that which has been concealed emerges into view. Art is for me making visible the invisible. In working across mediums for the last fifty years, I go to the unknown in order to know. I go to the dark to see the light.

Traducido del inglés

Durante muchos años, he estado investigando la naturaleza inefable de las cosas, los objetos, las palabras, los pensamientos. Mi arte siempre ha sido informado por una conciencia subyacente de los aspectos ocultos y efímeros de la existencia que no vemos o que parece ser invisible. A través de los procesos que he explorado, trato de mostrar cómo lo que se ha ocultado surge a la vista. El arte es para mí hacer visible lo invisible. Al trabajar en distintos medios durante los últimos cincuenta años, me voy hacia lo desconocido con la finalidad de conocer. Voy a la oscuridad para ver la luz.

Selected Biographical Information

Education / Training

• 1958-1959: The University, Edinburgh, Scotland.
• 1956-1957: Atelier André Lhote, Paris, France.
• 1956: La Sorbonne, Paris, France.
• 1950-1953: Universidad de Córdoba, Córdoba, Argentina.

Prizes / Fellowships

• 2011-2012: Lee Krasner Award for Lifetime Achievement, The Pollock-Krasner Foundation, New York, USA.
• 2006: The Pollock-Krasner Foundation Grant, The Pollock-Krasner Foundation , New York, USA.
• 2001: The Pollock-Krasner Foundation Grant, The Pollock-Krasner Foundation , New York, USA.
• 1995: Individual Artist Grant for Works on Paper, New York State Council on the Arts, New York, USA.
• 1992: National Endowment for the Arts U.S./France Fellowship, National Endowment for the Arts, Washington, D.C., USA.
• 1991: National Endowment for the Arts Visual Arts Fellowship, National Endowment for the Arts, Washington, D.C., USA.
• 1986: Artists Space Grant, Artists Space, New York, USA.
• 1980: Artists Space Grant, Artists Space, New York , USA.
• 1978: CAPS Fellowship Grant, Creative Artists Public Service , New York, USA.
• 1964: Beca del Fondo Nacional de Las Artes, Fondo Nacional de Las Artes, Buenos Aires, Argentina.

Solo Exhibitions

• 2014: “Gateless Gates“, Y Gallery, New York, USA.
• 2009: “River Library  (The Poetics of Water)”, 10th International Cuenca Biennial, Cuenca, Ecuador.
• 2008: “Raquel Rabinovich: River Library”, Fundación Alon, Buenos Aires, Argentina.
• 2000: “Light Unworn: New Paintings by Raquel Rabinovich”, Trans Hudson Gallery, New York, USA.
• 1998: “Enfolded Darkness: Recent Drawings by Raquel Rabinovich”, Trans Hudson Gallery, New York, USA.
• 1996: “Raquel Rabinovich: Drawings 1978-1995”, INTAR Gallery, New York, USA.
• 1990: “Chhodrtens – Recent Work by Raquel Rabinovich (in conjunction with Beyond the Surface)”, Americas Society, New York, USA.
• 1986: “Invisible Cities: Sculpture and Drawings by Raquel Rabinovich”, Bronx Museum of the Arts, New York, USA.
• 1983: “TheThe Map Is Not the Territory (in conjunction with New Spaces)”, Center for Inter-American Relations, New York, USA.
• 1981: “Raquel Rabinovich: Esculturas – Dibujos 1981”, Galería Garcés Velásquez, Bogotá, Colombia.
• 1980: “Shelter”, Institute for Art and Urban Resources at P.S.1, Long Island City, NY., USA.
• 1979: “Cloister, Crossing, Passageway, 1.32”, The Jewish Museum Sculpture Court, New York, USA.
• 1974: “Raquel Rabinovich: Painting, Collage, Sculpture”, Heckscher Museum of Art, Huntington, NY, USA.
• 1963: “La oscuridad tiene su luz”, Galería Rioboo, Buenos Aires, Argentina.
• 1960: “First Exhibition in England of Paintings by Raquel Rabinovich”, Leicester Galleries, London, England.

Group Exhibitions

• 2015: “Empire of Dirt”, Paul Robeson Galleries, Rutgers State University of New Jersey, New Brunswick, NJ, USA.
• 2014: “Feral Objects”, CREON, New York, USA.
• 2013: “LINE & FORM”, MARC STRAUS, New York, USA.
• 2013: “Sofia International Paper Art Biennial 2013”, Amateras Foundation, Sofia, Bulgaria.
• 2012: “One of a Kind II – “Unbound” –An Exhibition in Three Chapters”, Dalhousie Art Gallery, Halifax, Nova Scotia, Canada.
• 2011: “Hudson River Contemporary: Works on Paper”, Boscobel Exhibition Gallery, Garrison, NY, USA.
• 2011: “Sticks and Stones”, Lehman College Art Gallery, New York, USA.
• 2010: “Marks that Matter, Contemporary Drawing in the Hudson Valley”, Ulster State University of New York, Stone Ridge, NY, USA.
• 2008: “Selection of Works from the Haim Chanin Collection”, Haim Chanin Fine Arts, New York, USA.
• 2007: “Minimal Interference in collaboration with Lucio Pozzi”, BCB Art Gallery, Hudson, NY, USA.
• 2004: “Art on Paper 2004”, Weatherspoon Art Museum, The University of North Carolina at Greensboro, Greensboro, NC, USA.
• 2004: “Voces y Visiones: Highlights from El Museo del Barrio’s Permanent Collection”, El Museo del Barrio, New York, USA.
• 2003: “Imaging the River”, Hudson River Museum, Yonkers, NY, USA.
• 2003: “Sticks and Stones”, Collaborative Concepts, Beacon, NY, USA.
• 2002: “Miami Currents”, Miami Art Museum, Miami, Fl, USA.
• 2002: “Blobs, Wiggles, and Dots, Webs and Crustillations”, Blobs, Wiggles, and Dots, Webs and Crustillations, The Work Space, New York, USA.
• 2001: “New Acquisitions”, Miami Art Museum, Miami, Fl, USA.
• 2000: “Re-Aligning Vision: Alternative Currents in South American Drawing”, El Museo del Barrio, New York, USA.
• 1995: “Presence/Absence”, Trans Hudson Gallery, Jersey City, NJ, USA.
• 1994: “The Persistence of Abstraction: American Abstract Artists”, Oceanville, NJ, USA.

Publications

• Nelly Perazzo, Historia general del arte en la Argentina, Tomo XI (Escultura argentina 1965-2000)  (Buenos Aires:  Academia Nacional de Bellas Artes),  263-264.
• David Levi Strauss, In Praise of Darkness, From Head to Hand: Art and the Manual  (New York: Oxford University Press), 66-69.
• Julian P. Herzberg, Raquel Rabinovich: Antología del lecho de los ríos/Anthology of the Riverbeds (Buenos Aires: Editorial Fundación Alon ).
• Ann Philbin, 560 Broadway: A New York Drawing Collection at Work, 1991-2006 (New York: New York and Yale University Press), 137.
• Linda Weintraub with Skip Schuckmann, EnvironMentalities: Twenty-two Approaches to Eco-Art, Avant-Guardians: Textlets in Art and Ecology.  (Rhinebeck, NY: Artnow Publications), 141-144.
• Hedwig Brenner, Judische Frauen in der bildenden Kunst II  (Hartung-Gorre Verlag ), 275-276.
• Erin Aldana, St. James Guide to Hispanic Artists (New York: St. James Press), 485-488.
• Linda Weintraub and George Quasha, Raquel Rabinovich, The Dark Is the Source of Light (Barrytown, NY: Station Hill Arts).
• Peter Bellamy, The Artist Project: Portraits of the Real World / New York Artists 1981-1990 (New York: IN Publishing), 184.
• German Rubiano Caballero, La Escultura en América Latina (Siglo XX) (Bogotá: Ediciones de la Universidad Nacional de Colombia).
• Damián C. Bayón, Aventura Plástica de Hispanoamérica (México City:  Breviarios del Fondo de Cultura Económica), 161.
• Ann McCoy, “The Artful Recluse: Painting, Poetry, and Politics in the 17th-Century China”, The Brooklyn Rail, May, 2013.
• Julia P. Herzberg, “Raquel Rabinovich: Stone Sculptures”,  ARTE!Brasileiros, March, 2011, 66-70.
• Robert C. Morgan, “Raquel Rabinovich: Fluid Equilibrium”, Sculpture, December, 2010,  48-49.
• Luisa Valenzuela, “Palabras de agua”, Perfil, June 14, 2009.
• William Zimmer, “Out of the Water, Inspiration”, The New York Times, Dec. 28, 2003.
• Nicole Krauss, “Raquel Rabinovich at Trans Hudson”, Art in America, July, 1999.
• William Zimmer, “Beyond the Surface”, Arts Magazine, October, 1990.
• Grace Glueck, “Critics’ Choices”, The New York Times, October 19, 1986.
• Amei Wallach, “Contemplating What Is Beyond What We See”, Newsday, March 10, 1983.
• John Stringer, “Raquel Rabinovich: De lo mítico a lo actual”, Arte Informa , 1983, 12.
• George R. Collins, “Raquel Rabinovich”, Arts Magazine, February, 1983, 4.
• Grace Glueck, “There’s New Sculpture Under the Sun All OverTown”, The New  York Times, August 3, 1979.
• John Gruen, “Raquel Rabinovich”, The Soho Weekly News, February, 1975.
• Jeanne Paris, “Jeanne Paris, Refines Her Art: Raquel Rabinovich Exhibit at Heckscher”, Long Island Press, February 3, 1975.
• Amei Wallach Her Fragile Art Arises from Wisps of Dreams Newsday, June 24, “Her Fragile Art Arises from Wisps of Dreams”, Newsday, June 24,1973.
• Jacqueline Barnitz, “Raquel Rabinovich at Benson, Bridgehampton”, Arts Magazine, September-October, 1970.

Collections

• The Museum of Fine Arts, Houston, Texas, USA.
• Whitney Museum of American Art  , New York, USA.
• Argentine Banking Corporation, New York, USA.
• Arkansas Art Center, Little Rock, Arkansas, USA.
• The Blanton Museum of Art at the University of Texas Austin,  Austin, Texas, USA.
• Fondo Nacional de las Artes, Buenos Aires, Argentina.
• Foundation for Contemporary Arts, New York, USA.
• Miami Art Museum, Miami, Florida, USA.
• Museo de Arte Morderno, Buenos Aires, Argentina.
• Museo Genaro Perez, Cordoba, Argentina.
• World Bank Fine Art Collection, Washington, D.C., USA.
• Museo Emilio Caraffa, Cordoba, Argentina.
• City of Phoenix, Phoenix, Arizona, USA.
• National Gallery of Art, Sofia, Bulgaria.
• Reading Public Museum, Reading, Pennsylvania, USA.
• Museo de Arte Abstracto, Zacatecas, Mexico.
• Museo de Arte Moderno, Bogota, Colombia.
• Museo del Barrio, New York, USA.
• San Francisco Museum of Modern Art, San Francisco, California, USA.
• The Bronx Museum, New York, USA.

Links

• World Literature Today
• 2015, Y Gallery: Exhibition showcasing works from series River Library and Gateless Gates.
• 2014, Ann McCoy, “IN CONVERSATION: Raquel Rabinovich with Ann McCoy.” Brooklyn Rail Interview, Brooklyn, NY, USA, November. P. 27, 28, 29. Interview on the occasion of solo exhibition at Y Gallery.
• 2014, Rachel Cole Dalamangas, INTERVIEW: ON THE NATURE OF ART & THE ART … – Zingmagazine Raquel Rabinovich on the invisible world, slowing down & mud as aesthetic” (Interview by Rachel Cole Dalamangas for Zingmagazine), NY, USA.
• 2014, Raquel Rabinovich’s Paradoxes.com, Essay by Alex Bacon, “Gateless Gates” exhibition, Y Gallery New York.
• 2014, Chronicles of Time, 2002 and 2013.com. Essays by Linda Weintraub on sculpture installations “Emergences” alongside Hudson River.
• 2014, Sculpture and Dance Collaboration, 2014.com. Video documenting sculpture and dance collaborationsRaquel Rabinovich/Julie Manna, Hudson River.
• 2013, Emergences Video, 2013.com. Documentary: stone sculpture installations along the shores of Hudson River.
• 2009, Cuenca Biennial Video, 2009.com. Documentary: exhibition sculpture installation/drawings “River Library” 10th International Cuenca Biennial, Ecuador.
• 2000, Time of the Gazing: A Glance at Raquel Rabinovich, 2000.com. Documentary of Raquel’s work, including interviews with the artist and others.

• Artists

My process of working is always about the development of one idea that starts first from little annotations, observations, and drawings, and then sometimes suggests a series, a sequence of a thought, using the same elements in different ways—sometimes concerned with the use of color or just in black and white, showing the strength and balance of the forms. I always need to be connected to music… because music is one of the most important things to me. In order to develop ideas, to think about colors, and even to define the compositions; music is essential all the time, as I work or think about new possibilities.

The artist is thinking all the time… trying to solve problems. First, it’s a mental process, I need to solve or to look for the better way to solve it before I start working, using different supports such as paper, hardboard, wood, or metal.

Traducido del inglés

Mi proceso de trabajo siempre consiste en el desarrollo de una idea que comienza primero desde pequeñas anotaciones, observaciones y dibujos y luego sugiere una serie, una secuencia de pensamiento, usando los mismos elementos de maneras diferentes, algunas veces preocupado por el uso de color o sólo en blanco y negro, mostrando la fuerza y el balance de las formas. Siempre tengo que estar conectado con la música… porque la música es una de las cosas más importantes para mí. Para poder desarrollar ideas, pensar en colores y hasta para definir composiciones, la música es esencial todo el tiempo, mientras que pienso o trabajo en nuevas posibilidades.

El artista está pensando todo el tiempo… tratando de solucionar problemas. Primero es un proceso mental; necesito solucionar o buscar la mejor manera de solucionar antes de comenzar a trabajar, utilizando diferentes soportes como el papel, aglomerado, madera, o metal.

Selected Biographical Information

Education / Training

• Self-taught

Solo Exhibitions

• 2012: Arevalo Gallery, Miami, USA.
• 2011: Galerie Denise René, Paris, France.
• 2010: Jorge Mara La Ruche, Buenos Aires, Argentina.
• 2010: Dan Galerie, Sao Paulo, SP, Brazil.
• 2009: Galerie Cayon, Madrid, Spain.
• 2007: Dan Galerie, Sao Paulo, Brazil.
• 2004: “Dessins et objets”, Galerie Arte em Dobro, Rio de Janeiro, RJ, Brazil.
• 2004: “Culture et peinture”, Dan Galerie, Sao Paulo, SP, Brazil.
• 2000: Dan Galerie, Sao Paulo, SP, Brazil.
• 1994: Pinacothèque de l’état de Sao Paulo, Sao Paulo, SP, Brazil.

Group Exhibitions

• 2011: Jorge Mara La Ruche, Buenos Aires, Argentina.
• 2010: “Foire de Bâle”, Galerie Denise René, Paris, France.
• 2010: Jorge Mara La Ruche, Buenos Aires, Argentina.
• 2009: “Matière grise”, Galerie Cayon, Madrid, Spain.
• 2009: “Dessins et sculptures”, Galerie A34 Barcelone, Spain.
• 2008: ARCO, Dan Galerie, Madrid, Spain.
• 2007: ARCO, Dan Galerie, Madrid, Spain.
• 2006: “Contrastes, collection du MASP”, Sao Paulo, SP, Brazil.
• 2006: “Le goût d’un collectionneur, collection de la fondation Nemirovsky”, Estaçao, Pinacothèque, Sao Paulo, SP, Brazil.
• 2005: “Anthologie de la collection MAM”, Sao Paulo, SP, Brazil.
• 2005: “L’art dans la ville”, musée Oscar Niemeyer, Curitiba, PR, Brazil.
• 2005: “Metropolis”, Institut Tomie Ohtake, Sao paulo, SP, Brazil.
• 2004: “Brésilien, brésiliens”, musée Afrobrésil, Sao Paulo, SP, Brazil.
• 2004: “Collection du MAC”, Sao Paulo, Brazil.
• 2004: “Quelques aspects de l’abstraction”, MASP, Sao Paulo, SP, Brazil.
• 2003: “Le Brésil des années 20 à 90”, MAC, Sao Paulo, SP, Brazil.
• 2003: “Artistes brésiliens”, Espace Virgilio, Sao Paulo, SP, Brazil.

• Artists

Translated from Spanish

I have always aimed for my work to speak of that which grazes silence, but it is full of voices.

Sometimes imperceptible, in others, in a very low volume.

In a similar way to what happens with the beginning of homeopathy, the more subtle the dissolution is, the more intense its effect will be. The slighter the stimulus is, the more powerful the reaction will be.

A whisper tends to be more powerful than a scream. A small noise in the garden ends up scaring more than a grandiloquent thunder.

To focus there, where there appears to be nothing—and after some careful attention—turns out to be a territory filled of things that speak in a low voice.

As soon as they are perceived and appear, they cannot be silenced.

A great part of my work on paper is like letters that have not been read. They have been written in a language that we don’t recognize at a first glance.

A list of what stands still. A detailed index of that which doesn’t exist.

A meticulous catalogue of the impossible.

The group of papers—sometimes paper cutting, whit incisions, marked, or with perforations—ends up generating an alphabet. A grid more or less uniform or disperse, from which we can device an unusual calligraphic system, with cuneiform memories, a sheet of writing which we do not know how to decipher, but we know it is there, latent,  under those signs and that order that forms words, phrases, and full sentences. We can sense their existence beyond their apparent secrecy. A fragile Rosetta stone. A letter that we receive, ethereal, from another place, but we don’t know in which language it has been written.

And it waits there, still.

Apparently monochromatic from the lights and shadows resulting from the cuts and interventions on the paper, they generate countless hues and semitones within each color, which increase the sense of range of each sign not written out.

Siempre he intentado que mi obra hablase sobre eso que roza el silencio, pero está lleno de voces.

A veces, imperceptible. En otras ocasiones, a un volumen muy bajo.

De manera similar a lo que sucede con el principio de la homeopatía, cuanto más sutil es la disolución, más intenso su efecto. Cuanto más leve el estímulo, más poderosa la reacción.

El susurro suele ser más poderoso que el grito. Y el pequeño ruido en el jardín termina asustando mucho más que el trueno grandilocuente.

Hacer foco allí, donde parece que no hay nada, y -tras unos minutos de atención- pasa a ser un territorio repleto de cosas que hablan en voz baja.

Y una vez que son percibidas y aparecen, ya no se callan.

Gran parte de mi obra sobre papel son como cartas no leídas. Escritas en un idioma que no reconocemos a simple vista.

Una lista de lo que permanece quieto. Un pormenorizado índice de lo inexistente.

Un minucioso catálogo de lo imposible.

El conjunto de papeles, a veces calados, con incisiones, marcados o con perforaciones termina generando un alfabeto. Una grilla más o menos uniforme o dispersa, de la que puede adivinarse un inusual sistema caligráfico, con reminiscencias cuneiformes, una plancha de escritura. La cual no sabemos decodificar del todo, pero sabemos que está allí, latente, bajo esos signos y ese orden que forman palabras, frases y oraciones completas, de las que llegamos a intuir su existencia, más allá de su aparente hermetismo. Una piedra de Roseta frágil. Una carta que nos llega, etérea, desde algún lado, pero no sabemos el idioma en que ha sido escrita.

Y allí espera, quieta.

En su aparente monocromía, las luces y sombras resultantes de los calados e intervenciones sobre el papel, generan incontables matices y semitonos dentro de cada color, que amplían el rango y sentido de cada signo no escrito.

Selected Biographical Information

Education / Training

• 1990: School of Visual Arts, New York, USA.
• 1979-1982: Facultad de Arquitectura, Montevideo, Uruguay.
• 1982-1985: Ciencias de la Comunicación, Universidad Católica del Uruguay.

Prizes / Fellowships

• 2001: Premio Salón Nacional del Uruguay.
• 2000: Premio Bienal de Salto, Uruguay.
• 1998: Gran Premio Salón Municipal de Montevideo, Uruguay.
• 1987: Beca Embajada Suiza, Montevideo, Uruguay.
• 1985: Premio Paul Cezanne, Montevideo/Paris.

Solo Exhibitions

• 2013: “Drawings”, BMoCA, Boulder, Colorado, USA.
• 2013: “Obra reciente”, Galería Jorge Mara-La Ruche, Buenos Aires, Argentina.
• 2013: “Pinturas”, Galería del Paseo, Manantiales, Uruguay.
• 2011: “Pepeles y telas”, Centro Cultural de España, Montevideo, Uruguay.
• 2011: “Cartas no leídas”, Tiempos Modernos, Madrid, Spain.
• 2011: “Obra reciente”, Galería Jorge Mara-La Ruche, Buenos Aires, Argentina.
• 2009: “Obra sobre tela”, Galería del Paseo, Manantiales, Uruguay.
• 2008: “afterEgo”, Josee Bienvenu Gallery, New York, USA.
• 2006: “Mucha gente”, Galería Jorge Mara-La Ruche, Buenos Aires, Argentina.
• 2001: “Silencio: obra reciente”, Galería del Paseo, Montevideo, Uruguay.

Group Exhibitions

• 2013: “Autocorrect”, Josee Bienvenu Gallery, New York, USA.
• 2013: “Blanco de silencio”, Galería Jorge Mara-La Ruche, Buenos Aires, Argentina.
• 2012: “Blanco casi blanco”, Tiempos modernos, Madrid, Spain.
• 2010: “Collages”, Galería Jorge Mara-La Ruche, Buenos Aires, Argentina.
• 2009: “microwave 7”, Judi Rotenberg Gallery, Boston, USA.
• 2008: “unplugged 2”, Josee Bienvenu Gallery, New York, USA.
• 2008: “Satellites of love”, Museo Nacional de Artes Visuales, Montevideo, Uruguay.
• 2006: “The Drop”, Exit Art Gallery, New York, USA.
• 2005: “Dating Data”, Josee Bienvenu Gallery, New York, USA.
• 2004: “Composición de lugar”, Centro Cultural de España, Montevideo, Uruguay.

Publications

• Historias que quedan en nada, Montevideo, 2003.
• Servilletas de papel, Montevideo, 2003.
• Latin American Graphic Design, Taschen, Alemania, 2009.
• Unlucky Lucky Tales, Colorado, 2012.

Collections

• CIFO, Colección Cisneros Fontanals, Miami, USA.

• Artists

Translated from Spanish

I consider myself sensitive to human relations, to the context of society and the future, to the multiple possibilities of existence, to imagination, to music… all that surrounds me is present in my work, and in the moment of creation.

I do not seek preconceived images. I find them in my work process, enjoying from the sharpest and flashy trace to the most delicate and imperceptible detail, creating an intimate atmosphere between the viewer and the work.

I define the image of my drawings with these words:

Partes fragmentadas de un todo

Que define un futuro incierto

La desaparición del ser humano

Convirtiéndose en más automático, más nada, más ilusión.

Me considero sensible a las relaciones humanas, al contexto de la sociedad y del futuro; a las múltiples posibilidades de la existencia, a la imaginación, a la música… todo lo que me circunda incide en mi obra, en el momento creativo.

No busco imágenes preconcebidas. Las encuentro en mi proceso de trabajo, gozando desde el trazo más punzante y llamativo hasta el delicado detalle, imperceptible, creando una atmósfera intimista entre el observador y la obra.

Defino la imagen de mis dibujos con estas pocas palabras:

Fragmented parts of a whole

Which defines an uncertain future

Disappearance of the human being

Becoming more automatic, more nothing, more illusion.

Selected Biographical Information

Education / Training

• 2003: MFA, University of Wisconsin at Madison, USA.
• 1992: Lic. en Ciencias de la Computacion, Universidad de Buenos Aires, Argentina.

Prizes / Fellowships

• 2014: Artist residency, Hafnarborg Museum, Hafnarfjörður, Iceland.
• 2013: The Wassaic Project, New York, USA.
• 2010: Fundacion Valparaiso, Mojacar, Spain.
• 2005: Anderson Center for Interdisciplinary Studies, MinnesotaUSA.
• 2004: Ucross Foundation,Wyoming, USA.
• 2004: KHN Center for the Arts, Nebraska, USA.
• 2000: The MacDowell Colony, Milton and Sally Avery Fellow, New Hampshire, USA.
• 1999: Straumur Art Commune, Hafnarfjordur, Iceland.
• 1999: Vermont Studio Center, Nexus Latin American Award, Vermont, USA.
• 1998: Straumur Art Commune, Hafnarfjordur, Iceland.
• 1997: The MacDowell Colony, New Hampshire, USA.
• 1997: Vermont Studio Center, Vermont, USA.

Solo Exhibitions

• 2014: “Inter Spaces“, Henrique Faria Fine Art, New York, USA.
• 2012: “Caligrafias”, 11×7 Galeria, Buenos Aires, Argentina.
• 2012: “Dibujos Concierto Detalle”, Faría+Fábregas Galeria, Caracas, Venezuela.
• 2011: “Bio-construcciones”, Centro Cultural Recoleta, Buenos Aires, Argentina.
• 2009: “Calm Complexities”, Curator’s Office, Washington D.C., USA.
• 2008: “Draw in”, Haim Chanin Fine Arts, New York, NY, USA.
• 2005: “Project Room”, Wendy Cooper Gallery, Chicago, IL, USA.
• 2004: “In a not time, not place”, Wendy Cooper Gallery, Chicago, IL, USA.
• 2003: “The imperceptible”, 734 Gallery, Madison, WI, USA.
• 2001: “Guided by Voices”, Bascom Hall, Madison, WI, USA.
• 1999: “Norrænt landslag”,Listasafn Arnesinga, Art Museum, Selfoss, Iceland.
• 1999: “Drawings”, Red Mill Gallery, Johnson, VT.

Group Exhibitions

• 2014: “Lo contrario de la magia“, Museo de Arte Latino-Americano de Buenos Aires, Malba, Buenos Aires, Argentina.
• 2014: “Traces of creation“, Hafnarborg Museum, Hafnarfjörður, Iceland.
• 2014: “Drawings from the South of America”, Henrique Faria Fine Art, New York, USA.
• 2013: “Homeward found“, Wassaic Project, Wassaic, USA.
• 2013: “4 artistas + 11 preguntas a Marta Minujín”, 11×7 Galeria, Buenos Aires, Argentina.
• 2012: “The sight of sound”, 60 Wall Gallery/Deutsche Bank Collection, New York, USA.
• 2010: “GalacticoMal”, Nora Fisch Arte Contemporáneo, Buenos Aires, Argentina.
• 2009: “Summer Shortcuts: a Drawing Forecast”, Josee Bienvenu Gallery, New York, USA.
• 2009: “Trends in paper works”, Texas State University, San Marcos, Texas, USA.
• 2009: “Summer Docks”, Curator’s Office, Washington D.C., USA.
• 2009: “Display/Displace”, Frederieke Taylor Gallery, New York, USA.
• 2008: “Paper and Space”, Galerie Thomas, Munich, Germany.
• 2008: “Mixology I: Paintings and Works on Paper”, Curator’s Office, Washington D.C., USA.
• 2008: “66 pieces of art”, Haim Chanin Fine Arts, New York, USA.
• 2008: “Blown Away”, Krannert Art Museum, IL, USA.
• 2007: “Microespacios toman el centro”, Centro Cultural de España in Buenos Aires, Argentina.
• 2007: “Levity: Selections Spring 2007”, The Drawing Center, New York, NY, USA.
• 2007: “Definition, delicacy and detail in drawing”, Curator’s Office, Washington D.C., USA.
• 2007: “Men & Math“, Southfirst Gallery, Brooklyn, New York, USA.
• 2006: “Darling Project”, Wendy Cooper Gallery, Chicago, IL, USA.
• 2005: “Serene Obsession”, Haim Chanin Fine Arts, New York, NY, USA.
• 2004: “Works on paper”, SouthFirst Gallery, Brooklyn, NY, U SA.
• 2004: “Mental Space”, Wendy Cooper Gallery, Madison, WI, USA.

Publications

• Celina Chatruc, “Punto de encuentro“, ADN Cultura, La Nacion, 05/23/14, 18.
• Lux Lindner, “La mas blanda de las ciencias duras”, Pagina 12, 06/09/14.
• Alicia DeBrincat, “Eduardo Santiere´s meticulous abstraction”, Artfile Magazine, 2013.
• Carmen Victoria Méndez, “Eduardo Santiere traza notas minimalistas sobre el papel“, El Nacional, 01/18/12, 3.
• “Entrevista a Eduardo Santiere”, El Universal, 19/12/12.
• LILIANA OCHOA BREIJO, “Se unen rasguños, colores y sinfonías”, Tal cual, 01/19/12.
• Jonathan Goodman , “Eduardo Santiere, Draw in”, Artcritical.com, 06/04/08.
• “In search of the new”, The Economist.com, 08/04/07.
• Holland Cotter, “Sampling Brooklyn, Keeper of Eclectic Frames”, The New York Times, Weekend Fine Arts, 01/23/04, 27.
• Bragi Asgeirsson, “Norrænt landslag”, Morgunbladid, 08/20/99, 27.

Collections

• Hafnarborg Museum, Hafnarfjörður, Iceland.
• Sayago & Pardon, California, USA.
• Deutsche Bank Collection, New York, USA.
• Progressive Corporation, Ohio, USA.

Links

• Art File Magazine

• Artists

Translated from Spanish

Art is the world for a second time.

El arte es el mundo por segunda vez.

Selected Biographical Information

Education / Training

Prizes / Fellowships

Solo Exhibitions

• Artists

Selected Biographical Information

Education / Training

• 1996: Yale University MFA sculpture.
• 1992: Whitney Museum Independent Study Program.

Prizes / Fellowships

• 1999: The John Simon Guggenheim Memorial Foundation Fellowship.
• 1990: The Pollock-Krasner Foundation Grant.

Solo Exhibitions

• 2013: “Disassembling Paradise”, Kabe Contemporary, Miami, Florida, USA.
• 2013: “14 juillet, le manifeste du coq flâneur et autres histoires…”, Galerie Karsten Greve, Paris, France.
• 2012: “Sublime Entropies”, Galerie Karsten Greve, Cologne, Germany.
• 2011: “Paradise: Real Time (stills)”, Kabe Contemporary, , curated by Julieta Gonzalez, ARCO, solo projects, Madrid, Spain.
• 2010: “Paradise: Real Time”, , curated by Jonathan Watkins, Ikon Gallery, Birmingham, UK.

Publications

• 2012: “Between Walls and Windows: Architecture and Ideology”, book edited by Valerie Smith, Paradise in the New World, Sergio Vega pp.65-7, text and images by Sergio Vega. Haus der Kulturen der Welt, Berlin. Published by Hatje Cantz, Germany, ISBN 978-3-7757-3474-5
• 2012: “The Storytellers, Narratives in International Contemporary Art”, book edited by Selene Wendt, Chapter eight: Sergio Vega, Paradise in the New World, text and images by Sergio Vega, pp.50-55. Published by Skira Editore, Milano, ISBN 978-88-572-1721-5
• 2011: “Ciels”, Nanni Balestrini and Sergio Vega, poet-artist book images by Sergio Vega, designed and published by Gervais Jassaud, Paris.
• 2011: “Paradise: Real Time”, book, introduction by Jonathan Watkins, essays and images by Sergio Vega, Ikon Gallery, Birmingham, UK December, 120 pages, ISBN 978-0-615-56381-7
• 2010: “Argentina in Focus: Visualizing the Concept” exhibition catalogue, essay by Alma Ruiz, Art Museum of the Americas, Organization of American States, Washington DC, 32 pages, December.

Collections

• MAR Museu de Arte do Rio de Janeiro, Brazil.
• Art Museum of the Americas, OEA. Washington DC, USA.
• Fondazione Biennale di Venezia, Italy.
• LWL-Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany.
• KIASMA, Museum of Contemporary Art, Helsinki, Finland.

Additional Links

• Sergio Vega interviewed by Nicolas Guagnini
• Sergio Vega interviewed by Luigi Fassi

• Artists

Translated from Spanish

For more than two decades I have tried to work (in negative), to make art that functions as a cleaning and disinfecting machine for a specially decadent version of Colombian rhetoric, a (blind) rhetoric that puts its loquaciousness at the service of foreign spaces that are dreamed, greco-latin, invisible, plagued with artists unable to get involved in the urgent need to modernize not only political and cultural institutions but also the general view of the nation. For this, the abstract appearance is useful, as well as the massive subjugation, since they place the spectator in front of materials and visual events that are concrete and unlimited. From tempered rubber on stretchers, passing through appropriations of famous modern artists, seasoned by infamous rhetoric, to drippings immersed in ultra-shinny Formica; the machine works at great speed while it leaves highly-visual restudies in a country submerged in the false illusion of an idealized poetic past, depressingly conservative. I oppose consciously and advantageously to the (poetically) anachronic national perception, systems of production that are prosaic and superficial.

Por más de dos décadas años he intentado trabajar <>, hacer  un arte que funcione como una máquina limpiadora y desinfectante para  una versión especialmente decadente de la retórica colombiana, una retórica <> que pone su verborrea al servicio de lugares ajenos, soñados, grecolatinos, invisibles, plagados de artistas incapaces de involucrarse en la urgente necesidad de modernizar tanto las instituciones políticas y culturales así como la visualidad general de la nación. Para esta labor es útil la apariencia abstracta y el avasallamiento por cantidad, pues ponen al espectador frente a materiales y hechos plásticos concretos e ilimitados. Desde hules templados en bastidores, pasando por apropiaciones de famosos modernistas, condimentados de la infame retórica, hasta chorreaduras inmersas en Formicas ultra brillantes, la máquina trabaja a gran velocidad mientras va dejando residuos altamente visuales en un país hundido en la falsa ilusión de un pasado poético idealizado, deprimentemente conservador. A una percepción nacional anacrónicamente <<poética>> le opongo consciente y alevosamente sistemas de hacer prosaicos y superficiales.

Selected Biographical Information

Education / Training

• 1999: Master of Fine Arts. San Francisco Art Institute, California. Tutores: Doug Hall, Paul Kos, Tony Labat, Frances McKormick, John Rapko.
• 1990: Maestro en Bellas Artes. Universidad de Bogotá Jorge Tadeo Lozano.

Prizes / Fellowships

• 2007: Ganador absoluto. IV Premio Luis Caballero. Secretaría de recreación y deportes de Bogotá, Colombia.
• 2007: Ganador Convocatoria de jurados Galería Santafé. Secretaría de recreación y deportes de Bogotá, Colombia.
• 1997: Beca Jóvenes talentos del Banco de la República de Colombia.
• 1997: Mención de Honor  Solidarte 97, Galería El Museo y Embajada de Francia, Bogotá, Colombia.
• 1993: Beca Colcultura y Presidencia de la República de Colombia.
• 1989: Primer premio VII Salón universitario del ICFES, Bogotá, Colombia.

Solo Exhibitions

• 2013: “Ready Zombie: Fernando Uhía y los 90”, Museo la Tertulia, Cali, Colombia.
• 2012: “Fútbol, tenis, carros y otras cosas de hombres”, Nueveochenta, Bogotá, Colombia.
• 2011: “Ready Zombie: Fernando Uhía y los 90”, Retrospectiva de los 90, Centro Colombo Americano, Bogotá, Colombia.
• 2011: “Seguridad democrática”, Nueveochenta, Bogotá, Colombia.
• 2010: “Sudáfrica 2010”, Jenny Vilá, Cali, Colombia.
• 2008: “La Implacable pesadez del diseño. 30 Años del MAMM“, Medellín, Colombia.
• 2008: “Masa Crítica”, MUZAC,  Montería, Colombia.
• 2008: “Regurgitando diseño”,  Valenzuela & Klenner, Bogotá, Colombia.
• 2007: “Masa Crítica”, Premiación del Luis Caballero, Galería Santafé, Bogotá, Colombia.
• 2006: “Masa Crítica”,  IV Premio Luis Caballero, Galería Santafé, Bogotá, Colombia.
• 2006: “Technoesmaltes”, Galería Jenny Vilá, Cali, Colombia.
• 2004: “Technoesmaltes”, Valenzuela & Klenner, Bogotá, Colombia.

Group Exhibitions

• 2013: “Al claro de luna: reminiscencias sonoras”, Galería Santafé, Bogotá, Colombia.
• 2012: “Correspondencia”, Nueveochenta, Bogotá, Colombia.
• 2011: “Catalejo. Egresados de La Tadeo”, Museo UJTL, Bogotá, Colombia.
• 2009: “X Bienal de La Habana”, Morro La Fortaleza, Cuba.
• 2009: “Corte 50”, MAMM, Medellín, Colombia.
• 2008: “Bodegón con espejo y naranja, 60 años de Uniandes”, Bogotá, Colombia.
• 2007: “12 Salones regionales”, Artista Invitado por la curaduría TRANSMISIONES, Tunja, Colombia.
• 2007: “Colectiva de año nuevo”, Galería Valenzuela & Klenner, Bogotá, Colombia.
• 2006: “6 Festival de performance”, Varias locaciones, Cali, Colombia.
• 2006: “40 Salón nacional de artistas”, Bogotá, Colombia.

Publications

• 2011: Ready Zombie: Fernando Uhía y los 90.Bogotá: Universidad de los Andes.
• 2008: Technoesmaltes de Fernando Uhía: ilusionismo expansivo y retóricas suspendidas. Por Leonardo Vargas. En Premio nacional de crítica 4°versión. Bogotá, Colombia.

Collections

• Banco de la república, Colombia.
• Museo de Arte Moderno de Bogotá, Colombia.
• Museo de Arte Moderno de Medellin, Colombia.
• Museo la Tertulia, Cali, Colombia.
• Museo de Arte de la Universidad Nacional de Colombia.
• Arcos Dorados.

• Artists

Selected Biographical Information

Education / Training

• BFA, National School of Fine Arts, Argentina.

Prizes / Fellowships

• 2007: Grand Prix of Honour in Drawing, National Award Exhibition of Fine Arts.
• 2002: Platinum Konex Award in Drawing.
• 2002: Konex Foundation Merit Achievement Diploma as one of the Best Hundred Argentine Artists of the Decade.
• 2000: Leonardo Award: Artist of the Year, National Museum of Fine Art, Buenos Aires.
• 1999: First Prize in Drawing – “Manuel Belgrano” Visual Arts Award.
• 1999: First Prize in Drawing, Museum Sívori, Buenos Aires.
• 1997: Alberto J. Trabucco Award: Special Mention, National Academy of Fine Art, Buenos Aires.
• 1996: Hugo Lane Award: Special Mention, Museum of Modern Art, Buenos Aires.
• 1995: First Prize in Drawing, Arawak Art Foundation, Santo Domingo, Dominican Republic.

Solo Exhibitions

• 2013: Rosenfeld Porcini, London, UK.
• 2011: “Recortes de Inventario”, Centro Cultural Recoleta, Buenos Aires, Argentina.
• 2011: Galería Jorge Mara – La Ruche, arteBA, Buenos Aires, Argentina.
• 2010: Obra Reciente, IVAM (Institut Valencia d’Art Modern), Valencia, Spain.
• 2010: Jorge Mara – La Ruche, ARCO, Madrid, Spain.
• 2010: “Highlights”, Jorge Mara – La Ruche, Buenos Aires, Argentina.
• 2010: Jorge Mara – La Ruche, arteBA, Buenos Aires, Argentina.
• 2010: Collages, Centro Cultural Parque España de Rosario, Santa Fe, Argentina.

Group Exhibitions

• 2011: “The Continuation of Romance”, Rosenfeld Porcini, London, UK.
• 2011: “Eduardo Stupia – Juan Andrés Videla”, Sasha D. Espacio de Arte, Córdoba, Argentina.
• 2010: “Ink on Paper: Prints, original drawings and books of Eudeba and Ceal”, National Library, Buenos Aires, Argentina.
• 2010: “Mi Torito de Pucara: Pottery of Peru by Argentinean Artists”, Museo de Arte Popular José Hernández, Buenos Aires, Argentina.
• 2010: “Southern Identity: Contemporary Argentinean Art”, Smithsonian Institution, USA.
• 2010: “Reality and Utopia: Argentina’s Artistic Journey to the Present”, Akademie der Künste, Berlin, Germany.
• 2010: “Pequeno Formato”, Casa Museo Yrurtia, Buenos Aires, Argentina.
• 2010: “Argentinean Chronicles”, Pasaje 17 Gallery, Buenos Aires, Argentina.
• 2010: “Litho-Grafica Berlin 2010”, Argentinean Embassy, Berlin, Germany.
• 2010: “Landscape and Memory”, Recoleta Cultural Centre, Buenos Aires, Argentina.
• 2009: “Black and White”, Empatía Gallery, Buenos Aires, Argentina.

Collections

• Museum of Modern Art (MoMA), New York, USA.
• Museo de Arte Latinoamericano de Buenos Aires (MALBA), Argentina.
• Museo Nacional de Bellas Artes, Buenos Aires, Argentina.
• Museum of Modern Art, Buenos Aires, Argentina.
• Museo Municipal de Artes Plásticas Eduardo Sívori, Buenos Aires, Argentina.
• Palais de Glace, Buenos Aires, Argentina.
• Museo Caraffa, Córdoba, Argentina.
• Talca University, Chile.
• Arché Foundation, Buenos Aires, Argentina.

• Artists

Most of my work has implicit connections to my native country, Venezuela, where oil production made the promise of modernism more tangible, and its failure more poignant, than elsewhere in Latin America. I ruminate on the future of abstraction while glancing back at Venezuela’s collapsed modernist project – its chromatic remains – through the fracturing prism of contemporary conditions. I use the language of abstraction as a way to materialize and connect ideas. Conceiving abstraction as the critical and poetic language of potential allows me to pierce the detached geometries of ordering structures, making them responsive and more pliable. I work with paint, paper, ink, slides, spices, felt and vinyl. But my favored material is paradox: the promise and perils of utopian abstraction, political formalisms, universal specificities, and the underlying order of chaos.

La mayor parte de mi trabajo tiene conexiones implícitas con mi país natal, Venezuela, donde la producción de petróleo hizo la promesa de la modernidad más tangible, y su fracaso más doloroso, que en otras partes de América Latina. Yo exploro el futuro a través de la abstracción, a su vez miro el pasado, estudiando el colapsado proyecto modernista de Venezuela – sus restos cromáticos – a través del prisma de la fractura de las condiciones contemporáneas. Uso el lenguaje de la abstracción como una forma de materializar y conectar ideas. Concebir la abstracción como lenguaje de crítica y poética de un potencial me permite perforar las geometrías de las estructuras adosadas y llevarlas hacia algo más sensible y más flexible. Trabajo con la pintura, el papel, la tinta, las diapositivas, las especias, el fieltro y vinilo. Pero mi materia favorita es la paradoja: la promesa y los peligros de la abstracción utópica, formalismos políticos, las especificidades universales, y el orden que ya subyace al caos.

Selected Biographical Information

Education / Training

• 2009: MA, Aesthetics and Politics, School of Critical Studies, CalArts, CA, USA.
• 1999: MFA, Painting, Claremont Graduate University, CA, USA.
• 1996: BA, Hampshire College, Amherst, MA, USA.
• 1989-1990: Instituto de Arte Federico Brandt, Caracas, Venezuela.

Prizes / Fellowships

• Obermann Grant Wood Fellowship, University of Iowa, IA, USA.
• Ahmanson Scholarship, California Institute of the Arts, CA, USA.
• Five College Center for the Interdisciplinary Study of the Americas Fellowship, Five Colleges, MA, USA.
• Community Foundation of Western Massachusetts Grant, MA, USA.
• Claremont Graduate University Fellowship, CA, USA.

Solo Exhibitions

• 2013: “Color Felt”, Soho20 Chelsea Gallery, NY, USA.
• 2013: Los Angeles, Ruth Bachofner Gallery, CA, USA.
• 2012-2013: “Never Underestimate a Monochrome”, University of Iowa Museum, Iowa City, IA, USA.
• 2012: Wignall Museum of Contemporary Art, CA, USA.
• 2012: “Color’s Ordinates and Affinities: Instructions for Chromatic Living”, University of Iowa ABW Gallery, IA, USA.
• 2011: “Abstract Numbers of a Revolution”, University of Iowa, IA, USA.
• 2010-2011: “The Utopian Tense of Green”, Ruth Bachofner Gallery, Los Angeles, CA, USA.
• 2010: Soho20 Chelsea Gallery, NY, USA.

Group Exhibitions

• 2013: “Lines of Poetry”, Diane Birdsall Gallery, Old Lyme, CT, USA.
• 2012: “Pink Assignment”, Soho20 Gallery, NYC, NY, USA.
• 2011: “An Exchange with Sol Lewitt”, MASS MoCA, USA.
• 2011: “Gifting Abstraction”, Soho20 Gallery, NYC, NY, USA.
• 2010: “Muse/Reuse”, Doug Adams Gallery at the Badé Museum, Berkeley, CA, USA.

Publications

• 2013: Goodrich, John, “Only Engage,” City Arts: New York’s Review of Arts and Culture.
• 2013: Prugh, Brian,”Revolt Against the City and Never Underestimate a Monochrome,” Iowa City Arts Review, 1, Vol. 7.
• 2013: Berry, Amy,” Artists on the same page in Old Lyme exhibit,” The Day.
• 2007: Benko, Susana, “Extra-pictórico,” Art Nexus, 66, Vol. 6.
• 2007: Miguel, Miguel “Mariángeles Soto-Díaz,” Arte al Día.
• 2007: Carreño, Freddy, “Fia 2007,” Art Nexus, 66, Vol. 6.
• 2007: Yáñez, Ondina “Mariángeles Soto-Díaz en un Laboratorio de Chocolate,” Revista GP.
• 2006: Méndez, María Gabriela “El Chocolate y sus Divinas Proporciones” El Universal.
• 2005: Carr, Carlin “Gallery: Mariángeles Soto-Díaz” New England Watershed.
• 2002: Monsalve, Jasmín “Mariángeles Soto-Díaz Muestra Abstracción con Olor a Canela” El Universal.
• 2002: Feely, Erik “Mariángeles Soto-Díaz at the Galería Alternativa” The Daily Journal.
• 2001: Cun, Lan “Exhibitions at the Sweeney” Radar.
• 2001: Knaff, Devorah “Revelatory Art” The Press Enterprise.
• 2000: Ollman, Leah “Blood Oaths” Los Angeles Times.
• 2000: Letran, Vivian “Grave Events” Los Angeles Times.

Additional Links

• Never Underestimate a Monochrome

• Artists

My visual rearrangements draw upon the paradoxical bond between architecture –a language of construction par excellence-with that of destruction and dislocation. In rearranging various materials I seek a potential poetics – a kind of cartography of social oblivion –that is simultaneously exposing but also recovering scattered fragments of an unrealized utopian project.

Traducido del inglés

Mis composiciones visuales recurren a la paradójica unión entre la arquitectura (un lenguaje de construcción por excelencia) con la destrucción y la dislocación. Al reconfigurar estos diferentes materiales busco una potencial poética, una especie de cartografía del olvido, que simultáneamente revela y también recobra fragmentos desperdigados de un proyecto utópico frustrado.

Selected Biographical Information

Education / Training

• 1983: Escuela de Grabado de Montevideo CGM, Montevideo, Uruguay.
• 1981: Taller de Artes Plásticas Guillermo Fernández. Montevideo, Uruguay.
• 1977: Facultad de Arquitectura, Universidad de la República. Montevideo, Uruguay.

Prizes / Fellowships

• 2004: New York Foundation for the Arts Fellowship, New York, USA.
• 2000: Pollock-Krasner Foundation Grant, New York, USA.
• 1986: Beca Paul Cezanne, Ministerio de Asuntos Extranjeros de Francia.
• 1986: XXXIV Salón Municipal de Montevideo. Montevideo, Uruguay.
• 1986: Premio honorario, II Bienal de la Habana, Habana, Cuba.

Solo Exhibitions

• 2013: “Obra reciente”, Nora Fisch Galeria, Buenos Aires, Argentina.
• 2013: “El estado de las cosas”, Museo Gurvich, Montevideo, Uruguay.
• 2013: “Paradoxes”, Josee Bienvenu Gallery, New York, USA.
• 2012: “Other Impertinences”, Alejandra von Hartz, Miami, USA.
• 2012: “Time Again Time”, Point of Contact, Syracuse, New York, USA.

Group Exhibitions

• 2012: “Esa Vara. Modernity and emplacement”, MADC, San Jose, Costa Rica.
• 2007: “The Disappeared”, El Museo del Barrio, New York, USA.
• 2006: IX Bienal de la Habana, “Dinamicas de la cultura urbana”, Havana, Cuba.
• 2005: “The Disappeared”, The North Dakota Museum of Fine Art, North Dakota. USA.
• 2002: III Bienal de Lima, Uruguayan representative, Lima, Peru.

Publications

• Bernard, Catherine. Fractures, Report on the State of Things. Catalog of exhibition.
• El estado de las cosas. Museo Gurvich, Montevideo, Uruguay, 2013.
• Rangel, Gabriela Low News.catalogue of exhibition Sin Aviso, 2005 CCE, Montevideo, Uruguay.
• Peluffo, Gabriel. Anna Tiscornia. III Bienal de Lima. Catalogue of Exhibition. Peru, 2002.
• Rangel, Gabriela Ana Tiscornia (interview) Arte al Día International, #140 2012.

Collections

• Museo Nacional de Artes Visuales, Montevideo, Uruguay.
• Museo Municipal de Bellas Artes, Juan Manuel Blanes Montevideo, Uruguay.
• The Illinois Holocaust Museum and Education Center, Chicago, USA.
• Teor/etica, San Jose, Costa Rica.
• Museo de la Solidaridad Salvador Allende, Santiago, Chile.

Links

Ana Tiscornia / Other impertinences

• Artists

Selected Biographical Information

Education / Training

• Pontificia Universidad Javeriana, cinco años, Arquitecto. Bogota, Colombia.
• Atelier 17, S.W. Hayter, Grabado Moderno, Paris, France.
• Art History, L’ Ecole du Louvre, Paris, France.

Prizes / Fellowships

• 2000: Premio Luis Caballero, Segunda Versión, IDCT, Alcaldia Mayor de Bogotá, Colombia.
• 1996: 1^er premio pintura, XXXVI SALON NACIONAL DE ARTISTAS, Instituto Colombiano de Cultura, Colcultura, Corferias, Bogota, Colombia.
• 1992: Mencion, XXXV SALON NACIONAL DE ARTISTAS, Instituto Colombiano de Cultura, Colcultura, Corferias, Bogota, Colombia.
• 1990: Visual Arts New Work Award, Wisconsin Arts Board.
• 1989: Milwaukee County Artists Fellowship.
• 1984: Jury Award, SMALL WORKS, (Eight Annual Contest), Galleries, 80 Washington Square East, New York University, N.Y., USA.
• 1979: Icetex Fellowship for Art Studies Abroad.

Solo Exhibitions

• 2013: “MECHANICAL VENTILATION”, Henrique Faria Fine Arts, New York, USA.
• 2011: “SALTO TEQUENDAMA”, Galeria Casas Reigner, Bogotá, Colombia.
• 2010: “OTRAS VOCES”, Faria & Fabregas Galeria, Caracas, Venezuela.
• 2010: “REVISION”, New Mexico State University Art Gallery, Las Cruces, NM, USA.
• 2009: “CIRCUNSTANCIAS”, Galeria Casas Riegner, Bogotá, Colombia.
• 2007: “TERRITORIOS”, Galeria Casas Riegner, Bogotá, Colombia.
• 2006: “PERMUTANTES”, Cámara de Comercio de Bogotá, Colombia.
• 2006: “ACERCA DE LAS ESTRUCTURAS”, MADC, Costa Rica.
• 2005: “PERMUTANTES”, Sala Mendoza, Caracas, Venezuela.
• 2005: “FRAGMENTED DREAMS”, Amelie A. Wallace Gallery, SUNY College at Old Westbury, New York, USA.
• 2005: “MARGENES PARALELAS”, Galeria Casas Riegner, Bogotá, Colombia.

Group Exhibitions

• 2013: “PERMANENCIA DEL ARTE GEOMETRICO”, Galeria Frances Wu, Lima, Peru.
• 2012: “TRACING TIME”, Josée  Bienvenu Gallery, NY, USA.
• 2012: “X BIENAL MONTERREY FEMSA”, Exposición Sextanisqatsi –Curado por José Roca, Monterrey, Mexico.
• 2010: “THEN AND NOW”, Abstraction in Latin American Art 1950-present, 60 Wall Gallery, Deutsche Bank, NY, USA.
• 2009: “VENICE BIENNALE“, Pabellón de América Latina IILA “Mundus Novus ”, Artiglierie dell’Arsenale.
• 2008: “PROYECTOS ESPECIALES”, ARCO, Madrid, Spain.
• 2008: “FORMA, LINEA, GESTO, ESCRITURA”, MuVIM, Valencia, Spain.
• 2007: “LINEA CONTINUA”, Lugar a Dudas, Cali, Colombia.
• 2006: “MARCAS REGISTRADAS”, Museo Nacional de Colombia, Bogotá, Colombia.
• 2006: “ESTRECHO DUDOSO”, Teoretica, Costa Rica.
• 2004: “DIBUJOS”, Johana Calle – Luis Roldán, Museo de Arte Moderno de Buenos Aires, Argentina.
• 2004: “DIBUJOS”, Johann Calle – Luis Roldán, Museo de Arte Moderno de Montevideo.
• 2004: “URBES INTERIORES”, BLLA, Banco de la República, Bogotá, Colombia.
• 2003: “VIOLOGY”, University of the Pacific.
• 2002: “VIOLOGY”, Galeria de la Raza, San Francisco, CA, USA.

Collections

• Bibilioteca Luis Angel Arango, Bogota, Colombia.
• Milwaukee Art Museum, Milwaukee, USA.
• Museo de Arte Moderno de Buenos Aires, Argentina.
• Museo de Arte Moderno de Bogotá, Colombia.
• Museo de Arte Moderno La Tertulia, Cali, Colombia.
• Museo de Arte Moderno Medellin, MAM, Colombia.
• Museo de Arte Latinoamericano, Managua, Nicaragua.
• Museo de Arte Universidad Nacional de Bogotá, Colombia.
• Museo Nacional de Colombia, Bogotá MADC, Costa Rica.
• Museo del Barrio, New York, USA.
• The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, N.Y., USA.
• Colección Suramericana, Medellín, Colombia.
• The Colección Patricia Phelps de Cisneros (CPPC), USA.
• Banco Mercantil, Caracas, Venezuela.
• Cisneros Fontanals Art Foundation, USA.
• Celarg Foundation, Caracas, Venezuela.
• Teorética, Costa Rica.
• Drawing Collection of the Deutsche Bank, New York, USA.
• Coleccion FEMSA, Monterrey, Mexico.

• Artists

Translated from Portuguese

I think that there is no art without something that doesn’t fit neither in life nor in time. You look at an ancient work and it seems as if it was done yesterday. The blue color in chapel Scrovegni, by Giotto (14th century), is as current as the blue color used by Yves Klein (1928-62). At the end, all art is contemporary.

Traducido del portugués

Pienso que no hay arte sin aquello que no tiene cabida ni en la vida ni en el tiempo. Al mirar un trabajo de la antigüedad, éste pareciera que fue hecho ayer. El color azul de la capilla Scrovegni, de Giotto (siglo XIV), es tan reciente como el azul de Yves Klein (1928-62). Al final, todo el arte es contemporáneo.

Acho que não há arte sem alguma coisa que não caiba na vida nem no tempo. Você olha uma coisa antiga e parece que ela foi feita ontem. O azul da capela Scrovegni, de Giotto [do século 14], é tão recente quanto o azul de Yves Klein [1928-62]. No fundo, toda arte é contemporânea.

Selected Biographical Information

Education / Training

• 1982: USP (University of São Paulo), philosophy.

Prizes / Fellowships

• 2009: Portugal Telecom Prize for Literature, São Paulo, Brazil.
• 2009: Bravo Award! – Best exhibition of the year, São Paulo, Brazil.
• 2007: Grand Prize Award – Barnett Newman Foundation, New York, USA.
• 2006: Bravo Award! – Arts / Best Solo Exhibition, São Paulo, Brazil.

Solo Exhibitions

• 2013: “Lime 87”, University Center Maria Antonia, Sao Paulo, Brazil.
• 2013: “Nuno Ramos, Angel and Doll”, Fortes Vilaca Gallery, São Paulo, Brazil.
• 2012: “3 Muds (They seemed eternal!)”, Celma Albuquerque Gallery, Belo Horizonte, Minas Gerais, Brazil.
• 2012: “The globe of death of all”, with Eduardo Climachauska, Anita Schwartz Gallery, Rio de Janeiro, Brazil.
• 2010: “Strange Fruit”, Museum of Modern Art in Rio de Janeiro, Brazil.
• 2009: “Dead Sea”, Anita Schwartz Gallery, Rio de Janeiro, Brazil.
• 2004: “Nuno Ramos and Frank Stella”, Nave 5 Gallery, São Paulo, Brazil.

Group Exhibitions

• 2013: “Moving”, Norman Foster on Art, Carré d’Art Museum, Nîmes, France.
• 2013: “30x Biennial”, Biennial of São Paulo Foundation, São Paulo, Brazil.
• 2012: “Subverted”, Ivory Press, Madrid, Spain.
• 2011: “Europalia”, FODASEFOICE, performance at Atelier Sidnei Tendler, Brussels.
• 2010: “XXIX International Biennial of São Paulo“, São Paulo, Brazil.

Publications

• 2011: Junco, Iluminuras Publishing House, São Paulo, Brazil.
• 2010: O Mau Vidraceiro, Globo Publishing House, São Paulo, Brazil.
• 2010: Nuno Ramos, Cobogó Publishing House, São Paulo and Rio de Janeiro, Brazil.
• 2009: O, Iluminuras Publishing House, São Paulo, Brazil.
• 2008: Ensaio geral, Globo Publishing House, São Paulo, Brazil.
• 2004: Morte das Casas, House of Image and Bank of Brazil Cultural Center, Curitiba e São Paulo, Brazil.
• 2002: Noites Brancas, House of Image Publishing House, Curitiba, Brazil.
• 2001: O Pão do Corvo, 34 Publishing House, São Paulo, Brazil.
• 1997: Nuno Ramos, Ática Publishing House, São Paulo, Brazil.

Links

• TVCULTURA
• nunoramos.com

• Artists