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

I am interested in a process of intermediation, in the admixture of media and the possibility of shaping their mutual resonances. What guides that process is a will to construct. Form takes root in those intermediary relations: form as the conceptual development of a tectonic sensation; form as the presentness of an object that migrates from one medium to the other. In each stage of my work, I have searched for that object, the place that cannot be framed within a medium-specific site. Detached from concrete objects, such a place is to be found between the works as a concept or idea in development. It is an ideogrammatic construction.

Traducido del inglés

Estoy interesado en un proceso de intermediación, en la mezcla de los medios y la posibilidad de transformar sus resonancias mutuas. Lo que guía este proceso es la voluntad de construir. La forma radica en esas relaciones de intermediación: la forma como el desarrollo conceptual de una sensación tectónica; la forma como el estado presente de un objeto que se desplaza de un medio a otro. En cada etapa de mi trabajo, he buscado para ese objeto el lugar que no se puede enmarcar dentro de un medio específico. Separado de objetos concretos, tal lugar se encuentra entre las obras como un concepto o idea en desarrollo. Se trata de una construcción ideogramática.

Selected Biographical Information

Education / Training

• 1981: Bachelors of Fine Arts, Escola de Belas Artes, Universidad Federal de Rio de Janeiro, Rio de Janeiro, Brazil.
• 1987: Printmaking, Centro de Enseñanza Gráfica, Caracas, Venezuela.

Prizes / Fellowships

• 2004: CAF Prize, Luisa Palacios XI Biennial of Miniatures, TAGA, Caracas, Venezuela.
• 1997: Honorable Mention in Graphic Arts, Colombian/Venezuelan Biennial, Mérida, Venezuela.
• 1990-1992: Grant, National Council of CultureGrant, Caracas, Venezuela.
• 1988: Honorable Mention, III Biennial, Maracaibo,  Maracaibo, Venezuela.
• 1988: Honorable Mention, V Biennial of Miniature Graphics, TAGA, Caracas, Venezuela.
• 1986: Honorable Mention, Young Print Prize, Casa de las Américas, Havana, Cuba.
• 1978: Honorable Mention in Printmaking, University Salon of Fine Arts UFES, Vitoria, Brazil.
• 1977: Second Place, EBA Salon, UFRJ, Rio de Janeiro,  Brazil.

Solo Exhibitions

• 2014: “The Ideogram of Place”, Cecilia de Torres, Ltd., New York, United States.
• 2012: “Jesús Matheus: New Work”, Solar Gallery, New York, United States.
• 2013: “Square Totem/recent work”, Ideobox Artspace, Miami, United States.
• 2008: “Recent Work”, Artepuy Gallery, Caracas, Venezuela.
• 2006: “Pure Form Paintings”, Solar Gallery, New york, United States.
• 2005: “Trashumantes Paintings and Drawings”, Pages Espai d’art, Barcelona, Spain.
• 2002: “Paintings”, Gomez Gallery, Baltimore, United States.
• 2002: “The Skin of the Painting”, Solar Gallery, New York, United States.
• 1999: “Nómada/Nomad Installations”, Sala Mendoza Gallery, Caracas, Venezuela.
• 1998: “Print Installations”, Museum of Americas, San Juan, Puerto Rico.
• 1997: “Casa de Signos/House of Signs: Paintings”, Leo Blasini Gallery, Caracas, Venezuela.

Group Exhibitions

• 2013: “Recent Works by Gallery Artists”, Cecilia de Torres, Ltd., New York, United States.
• 2013: “Time Pieces (two person show w/ Danielle Sauvé)”, gallery@ARTBLOCK, Boston, Massachusetts, United States.
• 2015: “Forms of the Journey “, WE ART GALLERY, Washington, DC, United States.
• 2010: “Variable Dimensions, (two person show)”, AIB/ Lesley University, University Hall Gallery, Cambridge, United States.
• 2013: “The Restless Square”, Artepuy Gallery, Caracas, Venezuela.
• 2012: “2D Salon”, Chandler Gallery, Cambridge, United States.
• 2012: “Línea Crítica/Desplazamientos Cromáticos”, Artepuy Gallery, Caracas, Venezuela.
• 2012: “Magic Square”, Artkitec Gallery, Mérida, Venezuela.
• 2008: “Visual/Manual “, Center for Latino Arts CLA, Boston, United States.
• 2005: “Unseen paintings”, Diversity Gallery, QCC Community College, Worcester, United States.
• 2001: “Site B Works on Paper”, Open studios FPCA, Boston, United States.
• 1998: “In Situ Installations and Artist Books”, Unus Space, Caracas, Venezuela.
• 1996: “Print Installations”, Homestudio José Clemente Orozco, Guadalajara, Mexico.
• 1994: “Muro de Ofrendas/ Wall of Offerings”, Unus Space, Caracas, Venezuela.
• 1993: “Prints”, Latinoamerican Gallery, Casa de las Américas, Havana, Cuba.
• 1989: “Drawings”, VW Gallery, Caracas, Venezuela.

Publications

• John Angeline, “Review of The Ideogram of Place”, ArtNexus- Issue N 96, March-May 2015, 115-116.
• María Angelina Castillo, “La Geometría Filosofal”, Talcualdigital.com, May 15, 2013.
• Jessica Morón, “Jesús Matheus en cuatro costados”,  El Universal, Caracas, Venezuela, May 14, 2013.
• Grisel Arvelaez, “Indagaciones desde el arte geométrico”, El Nacional, June 2, 2013.
• Carmen Victoria Méndez, “El cuadrado representa la libertad absoluta para Jesús Matheus”, El Nacional, May 14, 2013.
• Cate McQuaid, “Grids and ribbons”, The Boston Globe, December 17, 2013.

Collections

• Robert Blackburn Printmaking Workshop, New York, United States.
• Dana Faber Cancer Institute, Boston, United States.
• Cisneros Foundation, Caracas, Venezuela.
• Cabinet of Print and Drawing, National Gallery of Art, Caracas, Venezuela.
• Carlos Cruz-Diez Museum of Illustration and Design, Caracas, Venezuela.
• Mario Abreu Museum of Contemporary Art, Maracay, Venezuela.
• National Library, Caracas, Venezuela.
• Taller de Artistas Gráficos Asociados, Caracas, Venezuela.
• Venezuelan Corporation of Guayana, Venezuela.
• Mercantil Bank Foundation, Caracas, Venezuela.
• National Museum of Print, México City, México.
• Embassy of Venezuela, México City, México.
• Graphic Arts Institute of Oaxaca, Oaxaca, México.
• Wilfredo Lam Center, Havana, Cuba.
• Casa de las Américas, Havana, Cuba.
• René Portocarrero Silk Screen Workshop, Havana, Cuba.
• Embassy of Venezuela, Rio de Janeiro, Brazil.
• Federal University of Rio de Janeiro, School of Fine Arts, Rio de Janeiro, Brazil.
• Federal University of Espiritu Santo, Vitoria, Brazil.
• Puerto Rican Institute of Culture, San Juan, Puerto Rico.

• Artists

My work elaborates on life “displacements” that take you to an uncomfortable place and push you to your limits. The cultural remnants that I encounter living overseas as a foreigner have always inspired me to create work that deals with memory, identity and melancholy. I am fascinated by the unique moments I experience when I live away from my culture. Despite the visual clarity of my artwork, the pieces convey a sense of oddness and casual dysfunction. I am interested in materials within my art practice that do not blend, but overlap to hide sections of the composition and reveal others. The revelations in the work come through a sense of surprise. My current work draws great influence from painting and photography. My fascination with painting started as a kid and it is my biggest challenge. Every time I paint I grow restless and find it difficult to resolve an artwork. However, this challenge teaches me to appreciate the qualities of painting as a process in my work.

My work has an almost abstract quality. The precise marks and interventions (with paper, tape, wood, paint and oil pastel) directly on photographic prints – produce an authentic quality to the work. As a result, my artistic investigation transcends the language of photography and acquires qualities of painting. I have been intrigued by ways to break the qualities of the photographic medium in my art practice. One of the art movements that has been especially inspiring to me is the Neo-Concrete art movement from the 1960’s (Rio de Janeiro, Brazil) where artists were using geometry as a way to expand the possibilities of texture and sensorial qualities in art. The work’s often experimental qualities allowed it to undergo a process of self-transformation.

Traducido del inglés

Mi trabajo profundiza en los “desplazamientos” de la vida que te llevan a un lugar incómodo y que te empujan hasta sus límites. Los restos culturales con los que me encuentro al estar viviendo en el extranjero siempre me han inspirado a crear obra que tenga que ver con la memoria, la identidad y la melancolía. Tengo una fascinación por los momentos únicos que experimento cuando vivo lejos de mi cultura natal. A pesar de la claridad visual de mi obra, las piezas transmiten una sensación de extrañeza y disfunción casual. Como parte de mi práctica artística, me interesan los materiales que no se mezclan, pero que se superponen para ocultar secciones de la composición y revelar otras. Las revelaciones en mi trabajo vienen a través de un sentido de sorpresa. Mi trabajo actual tiene una gran influencia de la pintura y la fotografía. Mi fascinación por la pintura comenzó desde que era una niña y se ha convertido en mi mayor reto. Cada vez que pinto, crezco de manera inquieta, y me resulta difícil resolver de esta manera la obra de arte. Sin embargo, este reto me enseña a apreciar las cualidades de la pintura como un proceso en mi trabajo.

Mi obra tiene una cualidad casi abstracta. Las marcas e intervenciones (con papel, cinta, madera, pintura y pastel al óleo) hechas sobre impresiones fotográficas, producen una auténtica calidad de la obra. Como resultado, mi investigación artística trasciende el lenguaje de la fotografía y adquiere cualidades de la pintura. Me ha intrigado la manera de romper las cualidades del medio fotográfico como parte de mi práctica artística. Uno de los movimientos artísticos que ha sido especialmente inspirados para mí es el movimiento de arte Neo-concreto de la década de 1960 (Río de Janeiro, Brasil) en donde los artistas utilizaron la geometría como una forma de ampliar las posibilidades de la textura y las cualidades sensoriales en el arte. Las cualidades a menudo experimentales del trabajo, permiten que éste se someta a un proceso de auto-transformación.

Selected Biographical Information

Education / Training

• 2007-2009: Master of Fine Arts, Pratt Institute, New York, USA.
• 2003-2007: Bachelor of Fine Arts, Central Saint Martins School of Art and Design (UAL), London, UK.

Prizes / Fellowships

• 2014: Foam Talent, Foam, Amsterdam, Netherlands.
• 2014: Jardim do Hermes Residency, Hermes Artes Visuais, São Paulo, Brazil.
• 2013: Barracão Maravilha Residency, Barracão Maravilha, Rio de Janeiro, Brazil.
• 2012: School of Visual Arts Residency, School Of Visual Arts (SVA), New York, Brazil.
• 2012: Camera Club Of New York Honorable Mention, Camera Club of New York (CCNY), New York, USA.
• 2010: Garimpo (finalist), Das Artes, Rio de Janeiro, Brazil.
• 2009: PS122 Prize, PS122, New York, USA.

Solo Exhibitions

• 2015: “Além (Beyond)”, Fauna Gallery, São Paulo, Brazil.
• 2013: “Bichos (Beast)”, Mercedes Viegas Gallery, Rio de Janeiro, Brazil.
• 2013: “Raízes (Roots)”, Barracão Maravilha , Rio de Janeiro, Brazil.
• 2011: “Duas Pessoas Cem Lugares (Two People and One Hundred Places)”, Mercedes Viegas Gallery, Rio de Janeiro, Brazil.
• 2010: “A Casa Americana (American Home)”, PS122 Gallery, New York, USA.

Group Exhibitions

• 2014: “20”, Mercedes Viegas gallery, Rio de Janeiro, Brazil.
• 2014: “Group show”, Fred Giampietro Gallery, New Haven, USA.
• 2014: “Foam Talent Exhibition”, East Wing Gallery, Dubai, United Arab Emirates.
• 2014: “In-dissonance”, The John Slade Ely House (Center for Contemporary Art), New Haven, USA.
• 2014: “Billboard 2×2, Special Projects”, Unseen Photo Fair, Amsterdam, Netherlands.
• 2014: “Foam Talent Exhibition”, L’Atelier Néerlandais, Paris, France.
• 2014: “Eat The Food, Not Its Name”, Clemente Soto Velez Center, New York, USA.
• 2013: “Constructions for Nowhere”, Mercedes Viegas Gallery, Rio de Janeiro, Brazil.
• 2013: “New Collection Project”, Orlando Lemos Gallery, Minas Gerais, Brazil.
• 2012: “Collective 12”, Mercedes Viegas Gallery, Rio de Janeiro, Brazil.
• 2012: “MACAA Members Juried Exhibition”, Wayne State University , Detroit, USA.
• 2009: “Some Place Like Home”, Daniel Cooney Gallery , New York, USA.

Publications

• Arianna Catania, “31 Photographs that Will Show You The Future of Photography“, The Huffington Post, January 1st 2015.
• IMA Magazine, “Is this Photo or Painting?”, IMA Magazine, Vol. 10, Nov 2014.
• Nani Rubin, “Obra em Progresso”, O Globo, December 1st 2014.
• Karin Bareman, “Recherche”, Foam Magazine, September 2014.
• Charlie Ambler, “From ArtRio to the São Paulo Biennial, Here Are 9 Brazilian Artists Under 35 You Need to Know“, Artsy.net, September 2014.
• Gazeta do Povo Newspaper, “New Art on the Web”, Gazeta do Povo Newspaper, September 7th 2014.
• O Fluminense Newspaper, “Alice Quaresma traz seus “Bichos” a Mercedes Viegas”, O Fluminense Newspaper, September 14th 2013.

Collections

• Museu de Fotografia de Curitiba, Curitiba, Brazil.

Links

• Artspace
• Turn to art
• Globo TV

• Artists

My taped projects are about surfaces, context and space.

I first started working with adhesive tape in 1966. Initially I used the tape to hold my paintings to the wall, but starting in 1970 I eliminated the painting and concentrated on the tapes as my primary medium. I wanted to explore the possibilities of using spaces where the viewer does not expect art to be found. This concept brought me to intervene staircases, landing platforms and outdoor walls and objects. Each work was created for a unique space. When covering a surface, the tape creates an additive grid full of amorphous patterns caused by air bubbles. When developing a tape project, sometimes paper or a photograph was the support and framework for the piece, but many times the project was able to become monumental as it seamlessly adapted to the architecture of the space. Also in 1970, I began to incorporate videotape as part of these projects. The taped projects became “Art on tape and tapes as art”.

Traducido del inglés

Mis proyectos con cinta tratan sobre superficies, contexto y espacio.

Comencé trabajando con cinta adhesiva en 1966. Inicialmente utilicé cinta para sostener mis pinturas sobre la pared, pero a partir de 1970, eliminé las pinturas y me concentré en las cintas como mi medio principal. Quería explorar las posibilidades del uso de espacios en donde el espectador no espera encontrar arte. Este concepto me llevó a intervenir escaleras, plataformas de aterrizaje, paredes exteriores y objetos. Cada obra fue creada para un espacio único. Al cubrir una superficie, la cinta crea una retícula de aditivo llena de patrones amorfos causados por burbujas de aire. Durante el desarrollo de un proyecto con cinta, a veces el papel o la fotografía era el soporte y el marco de la pieza, sin embargo, muchas de las veces, el proyecto fue capaz de convertirse en monumental al momento de adaptarse perfectamente a la arquitectura del espacio. También, en 1970, comencé a incorporar cinta de video como parte de estos proyectos. Los proyectos grabados se convirtieron en “Arte en cinta y las cintas como arte”.

Selected Biographical Information

Education / Training

• 1963: School of Visual Arts, New York, USA.
• 1959-1961: , University of Uruguay, Montevideo, Uruguay.
• 1954-1958: , National College of Buenos Aires, Buenos Aires, Argentina.

Prizes / Fellowships

• 1990: Visual Arts Fellowship, National Endowment for the Arts, Washington, D.C., USA.
• 1984: Visual Arts Fellowship, National Endowment for the Arts, Washington, D.C., USA.
• 1982: Creative Artists Public Service Program, New York State Council on the Arts, New York, USA.
• 1978: Visual Arts Fellowship, National Endowment for the Arts, Washington, D.C., USA.
• 1975: Creative Artists Public Service Program, New York State Council on the Arts, New York, USA.

Solo Exhibitions

• 2015: “Jaime Davidovich: Adventures of the Avant-Garde“, The Bronx Museum of the Arts, New York, USA.
• 2015: “Jaime Davidovich: Tapes Period. 1969-1975”, Henrique Faria, New York, New York, USA.
• 2013: “Museum of Television Culture“, Churner and Churner, New York, USA.
• 2010: “Biting the Hand that Feeds You”, ARTIUM, Vitoria Gasteiz, Spain.
• 2008: “Dr. Videovich”, Anthology Film Archives, New York, USA.
• 2004: “Jaime  Davidovich Video Works 1970-2000”, The Phatory Gallery, New York, USA.
• 1991: “Forces/Farces”, Exit Art, New York, USA.
• 1989: “The Live! Show Retrospective”, The Museum of the Moving Image, New York, United States.
• 1978: “Jaime Davidovich: Art Turns on Television”, Coroborree, Iowa City, United States.
• 1976: “Baseboard”, The Kitchen, New York, USA.
• 1976: “Jame Davidovich Video VII”, Museum of Modern Art, New York, USA.

Group Exhibitions

• 2010: “Changing Channels”, MUMOK, Vienna, Austria.
• 2009: “Compass in Hand”, Museum of Modern Art, New York, United States.
• 2009: “From the Archives: 40 Years, 40 Projects”, White Columns, New York, United States.
• 2008: “Arte no es Vida”, El Museo del Barrio, New York, United States.
• 2007: “Primera Generación. Arte e imagen en movimiento”, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain.
• 2000: “The End: An 18-Year History of Exit Art”, Exit Art, New York, United States.
• 1990: “Ideas and Images from Argentina”, The Bronx Museum of the Arts, New York, USA.
• 1986: “Television’s Impact on Contemporary Art”, Queens Museum, New York, USA.
• 1977: “Art of the Seventies”, Fundació Joan Miró, Barcelona, Spain.
• 1972: “Arte de Sistemas”, Museo de Arte Moderno, Buenos Aires, Argentina.
• 1971: “Experiments in Art and Technology”, B.K. Smith Gallery, Painesville, USA.

Publications

• Thomas Riggs, St. James Guide to Hispanic Artists (New  York: St. James Press).
• Marc H. Miller, Television’s Impact on Contemporary Art (New York: Queens Museum).
• Les Krantz, American Artists – An Illustrated Survey of Leading Contemporary Americans (Chicago: The Krantz Company Publishers, Inc.)
• Holland Cotter, “10 Galleries to Visit on the Upper East Side“, The New York Times, April 16, 2015, C33.
• Jacob Proctor, “Jaime Davidovich at Threewalls”, ArtForum, April 2015, 255.
• Joseph Jacobs, “When Video Was Young”, Art in America, 2007, .
• Lower Manhattan Cultural Council, “Site Matters”, Distributed Art Publishers, 2004, .
• Herman Rapaport, “Jaime Davidovich – A Video Promenade – Jorge Luis Borges Interview with Davidovich While Walking on University Place from 12th to 11th Streets, New York, 1982”, Points of Contact, Fall 1995, 16-21.
• Carolyn Kinder Karr, “Jaime Davidovich”, ArtForum, February 1974, 61-62.

Collections

• Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain.
• Museu d’Art Contemporani de Barcelona, Barcelona, Spain.
• Clarisa and Edgar J. Bronfman, New York, USA.
• Private Collection, New York, USA.

Links

• Jaime Davidovich in YouTube

• Artists

Selected Biographical Information

Education / Training

• 1997-1999: Master of Fine Arts, New York University, New York, USA.

Prizes / Fellowships

• 2012: Arte Laguna first prize in painting, Arte Laguna , Venice, Italy.
• 2009: Joan Mitchell Award for painters and scul, Joan Mitchell, New York, US.

Links

• Arttextum, Tejido de agentes culturales inspirados en Latinoamérica

• Artists

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

• Arttextum, Tejido de agentes culturales inspirados en Latinoamérica

• Artists

Selected Biographical Information

Solo Exhibitions

Group Exhibitions

Publications

Collections

• Artists

Through my work I revert the process in which form follows function, referring to actions that hold an established order in society. My purpose is not to build a closed, perfect system, but one that is interwoven with life. This is obtained by interlocking and linking a series of different materials consistently—from chaos to order—by weaving or joining them through other means. Where small changes in initial conditions can lead to large differences in future behavior, preventing long-term prediction.

My work comes from an empirical process that is in constant renewal, where the visual or formal aspects enter into dialogue with the symmetrical composition inherent in everything that human beings design and build. It is sensorial and appeals to a modular design or repetition as a starting point. Dynamic monotony is used as a creative impulse as a vital generator of inquiry. I analyze patterns of human behavior, the quotidian and what takes place in everyday life, what we perceive, and what defines our identity, our mission and place in our environment. My aesthetic concerns are immersed in the present reflecting change in my images. This process helps me to organize reality through representation.

En mi trabajo revierto el proceso en donde la forma sigue a la función, haciendo referencia a las acciones que tienen un orden establecido en la sociedad. Mi objetivo no es construir un sistema cerrado, perfecto, pero uno que se entrelaza con la vida, por lo azaroso e imprevisto. Esto lo obtengo mediante el enlace de series de distintos materiales de manera coherente –del caos al orden—al entrelazarlos o al unirlos por otros medios. En donde pequeñas variaciones en las condiciones iniciales pueden implicar grandes diferencias en el comportamiento futuro, dificultando la predicción a largo plazo.

Mi trabajo viene de un proceso empírico, que se encuentra en constante renovación, donde los aspectos visuales o formales dialogan con la composición simétrica inherente en todo lo que diseña o construye el ser humano. Es sensorial, apela a la modulación y a la repetición como método o punto de partida. La monotonía dinámica es utilizada como impulso creativo, como generador vital de indagación. Reflexiono sobre los patrones de comportamiento en el ser humano, lo cotidiano y lo que toma lugar en la vida diaria, lo que percibimos y nos define como personas, nuestro lugar y misión en nuestro entorno. Mis preocupaciones y estética están inmersos en el presente, lo que refleja el cambio en mis imágenes. Este proceso me ayuda a organizar la realidad a través de la representación.

Selected Biographical Information

Education / Training

Publications

Collections

• Artists

Selected Biographical Information

Education / Training

• 2002-2007: Bachelor Architecture, Cooper Union for the Advancement of Science and Art, NYC, USA.

Solo Exhibitions

• 2013: “Financial Times“, Mary Boone Gallery, New York City, USA.
• 2013: “The Red and the Black“, Y Gallery, New York, USA.

Group Exhibitions

• 2013: “Neo Povera“, L&M Gallery, Los Angeles, USA.
• 2013: “Come Together: Surviving Sandy“, Dedalus Foundation, New York, USA.
• 2013: “Une Exibicion Sans Textes“, Jeu de Paume, Paris, France.
• 2013: “La Bienal: here is where we Jump“, El Museo del Barrio, New York City, USA.
• 2013: “Draft Urbanism“, Biennial of the Americas, Denver, USA.

Publications

• Nathlie Provosty, “In Conversation“, The Brooklyn Rail, February 2014, 2-5. (Article).
• Chloe Rosetti, “Financial Times“, Artforum, January 2014 (Article).
• Ann Binlot, “Graphic Design“, The Economist, January 17, 2014 (Article).
• Holland Cotter, “A Constellation of Identities“, The New York Times, 13/6/13 (Article).
• Thomas Mitchell, “Guilt Complex: Selling Painting by the Square Foot“, Hyperallergic, 1/6/13 (Article).

• 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

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

A way to talk about the future while talking about the past. It is our present moment.

My multi-disciplinary practice, involving painting, sculpture, collages and manipulation.

Locations normally seen out the corner of the eye. The happy themes of arts, books, advertising, languages and different sources. Imagery from other eras where both treatment of the subject and the physical elements of the photography are current convention. Evoking narratives and memories through the juxtaposition of objects and images. I strive to create work that is highly charged and simultaneously empty.

My eclectic use of materials – including resin, aluminum, wood or clay—develops my fascination with the visual importance and presentation of objects. Working with photography, and painting my interests have evolved into the realms of 3D, presenting still images in an ever more engaging and dynamic set-up. Sometimes obscures parts of my found photographs and magazine cutting—playing on the interpretation and interplay between images—after my careful arrangement.

My work might also be interpreted as a comment on populist vs. elitist art. But they’re certainly not meant as criticism, as I am interested in both high and low culture and materials itself.

Traducido del inglés

Una forma de hablar sobre el futuro mientras se habla del pasado. Es nuestro momento presente. Una práctica multidisciplinaria, que incluye pintura, escultura, collage y manipulación. Lugares normalmente vistos de reojo. Los temas felices de las artes, libros, publicidad, lenguajes y diversas fuentes. Imágenes de otras eras donde el tratamiento del tema y los elementos físicos de la fotografía son la convención actual. Evocar narrativas y memorias por medio de la yuxtaposición de objetos e imágenes. Lucho por crear obra que está cargada de contenido y es vacía a la vez.

Mi uso ecléctico de materiales, incluyendo resina, aluminio, madera o arcilla, desarrolla mi fascinación con la importancia visual y la presentación de los objetos. Trabajando con fotografía y pintura, mis intereses han evolucionado hacia el campo de la tercera dimensión, presentando imágenes fijas en configuraciones más dinámicas e interesantes. Mi obra también puede ser interpretada como un comentario del arte populista vs. elitista, pero ciertamente no están hechas como crítica, puesto que también estoy interesado en materiales elevados y de cultura popular.

Selected Biographical Information

Education / Training

• 2009 – 2010: International Studio and Curatorial Program, New York, USA.
• 2009: School of Visual Arts SVA, New York, USA.
• 1996 – 2000: BFA, UFT of Chile, Santiago, Chile.

Prizes / Fellowships

• 2014: APT, Artist Pension Trust, New York – México, USA.
• 2012: Dirac “Visible Arquitects” Chilean art at a global crossroads, Chile.
• 2011: Nes Artist Lista Midstod, Skagaströnd, Iceland.
• 2010: Nominate Scholarship Beca, Gasworks ResidencIes London-UK.
• 2010: International Studio and Curatorial Program ISCP NY-USA.
• 2009: International Studio and Curatorial Program ISCP NY-USA.

Solo Exhibitions

• 2014: “I with out Kleenex“, ArtEspacio, Santiago, Chile.
• 2012: “Fall and Fold“, The Goma, Madrid, Spain.
• 2011: “20 minutes of weight“, The Goma, Madrid, Spain.
• 2011: “Okk Raum/29″, Okk Raum/29, Berlín, Germany.

Group Exhibitions

• 2014: “Eleven Rivington“, Eleven Rivington, New York, USA.
• 2013: “Restos Impresos”, LIMAC MUSEUM, Lima, Perú.
• 2013: Biennial Museo del Barrio “Here is where we jump”, Museo del Barrio, New York, USA.
• 2013: “Visible arquitects“, Chilean Embassy Washington DC, Washington DC, Chile.
• 2013: “Arco Highlighted artist “,  Arco Madrid – The Goma, Madrid, Spain.

Publications

• 2014: Art in America, “Exhibitions The Lookout“, Art in America, July 2014 , 1.
• 2013: Arco 2013 Catalogue“Hightlighted artist”.
• 2013: AD Magazine Spain Arco 2013.
• 2012: Revista ED, fall and fol, d Carlos Loyola. Chile Agosto 2012.
• 2011: Adriana Herrera Téllez, Arte al Día ( Nov ). Pinta New York 2011.
• 2011: Adriana Herrera Tellez . Hispanic, NewYork, Pinta. Geometrías del Sur. New York. US.

• Artists

About the Artist

My work aims to be an exploration on photography as a technique and as a language in itself, becoming an important aspect within my personal discourse. From this central idea derives my interest on the revision and dialogue between the photographic image and other representation mediums, as well as the investigation on the possible transformation of content in everyday spaces, in expressive subjects. I seek to approach the image not as a mere fact anchored to formal rules, but also being interested in the use of the image as a sort of container of ideas, as a vehicle of information. This has taken me, among other things, to the manipulation of found scenes, as well as the complete construction of images. I conceive the creative process as a tool for research and knowledge, as an active way of relating to the world, as an experience that transforms into a process of understanding. I believe as much in intuitive intelligence as in intellectual exercises. Whichever the case, I believe the constant questioning and the formulation of questions is vital for the beginning of new possibilities and directions in the creative endeavor.

—

Mi trabajo pretende ser una exploración en torno a la fotografía como recurso técnico y como lenguaje en sí mismo, convirtiéndose ésta en un factor determinante dentro de mi discurso personal. De esta idea central parte mi interés por la revisión y el diálogo entre la imagen fotográfica y otros medios de representación, así como también, la indagación en torno a la posible transformación del contenido de espacios cotidianos en materia expresiva. Busco entonces abordar la imagen, no como mero hecho anclado a leyes formales, sino interesándome también en el uso de la imagen como una suerte de contenedor de ideas, como vehículo de información. Esto último me ha llevado, entre otras cosas, tanto a la manipulación de escenas encontradas, como a la construcción completa de imágenes. Concibo el proceso creativo como una herramienta para la investigación y el conocimiento, como una manera activa de relacionarme con el mundo, como experiencias que se transforman de alguna manera en un proceso de comprensión. Creo tanto en la inteligencia intuitiva, como en el ejercicio intelectual. En cualquiera de los dos casos, el constante cuestionamiento, el planteamiento de preguntas me resulta vital para la apertura de nuevas posibilidades y direcciones del hacer creativo.

Selected Biographical Information

Education / Training

• 2005: Taller Aproximación a la Fotografía Contemporánea dictado por 
Nelson Garrido, Maracaibo, Venezuela.
• 
2004: Estudios de fotografía en Miami Dade College,
Junto a la artista Teresa Dihel. Miami, USA.
• 1999: Taller El Diseño Y la Fotografía dictado por Mariano Díaz,
Maracaibo, Venezuela.
• 1999: Estudios de fotografía en la Escuela Julio Vengoechea, 
Con los fotógrafos: Alvaro Silva y Alejandro Vásquez.
Maracaibo, Venezuela.

Prizes / Fellowships

• 2012: La exposición Reforma del Ahora (Al Borde. Maracaibo, 2012) fue 
reseñada por la curadora Sofía Hernández Chong Cuy en la revista 
ArtForum como una de las mejores exposiciones del año.
• 2012: Seleccionado para participar en el programa de residencia de
Skowhegan School of Painting and Sculpture, Beca otorgada por
La Colección Patricia Phelps de Cisneros.
• 2012: Beca otorgada al espacio de arte contemporáneo AL BORDE por la 
Fundacion Cisneros/Colección Patricia Phelps de Cisneros en su 
Programa de apoyo a organizaciones culturales
2011: Grafica Mercantil, Proyecto realizado por la Colección Mercantil 
y el TAGA (Taller de Artes Gráficos Asociados) Caracas, Venezuela.
• 
2010: Primer premio. 6to Salón Regional de Jóvenes Artistas.
Museo de Arte Contemporáneo del Zulia. Maracaibo, Venezuela.
• 2010: Lugares de Tránsito. Encuentro-residencia. 
Proyecto desarrollado por: Asociación Hablar en Arte, 
En colaboración con AECID. Venezuela/Spain.
• 2010: Primer premio. XII Salón SuperCable Jóvenes con FIA.
Centro Cultural Corp Banca. Caracas, Venezuela.
• 
2005: Mejor Fotografía. Salón de Artes Visuales de la Ciudad de Coro.
Museo de Arte Coro. Venezuela.
• 
2004: Mejor fotografía en la 38ava exposición anual de estudiantes.
Miami Dade College. Miami, USA.
• 2004: Mejor serie fotográfica, Miambiance magazine of arts & literatura
Volume 14. Miami, USA.
• 2003: Mejor fotografía en la 37ava exposición anual de estudiantes.
Miami-Dade College. Miami, USA.
• 2003: Beca basada en portafolio. Miami Dade College. Miami, USA.

Solo Exhibitions

• 2014: “Sin Titulo con Amarillo“, Oficina#1, Caracas, Venezuela.
• 2012: “Evidence Multigrade Light”, Alejandra Von Hartz Gallery, Miami, USA.
• 2012: “Them Elementals”, Goldrushfineart, Maine, USA.
• 2012: “Reforma del Ahora”, Al Borde, Maracaibo, Venezuela.
• 2011: “Nuevas Consecuencias“, Oficina#1, Centro de Arte Los Galpones, Caracas, Venezuela.
• 2009: “Dos Series“, Oficina#1, Centro de Arte Los Galpones, Caracas, Venezuela
• 2009: “Instantáneas”, Espacio PP Hotel Paseo las Mercedes, 
Caracas, Venezuela.
• 2005: “Puesto por los Caminos”, Galería de la Escuela de Fotografía 
Julio Vengoechea, Maracaibo, Venezuela.

Group Exhibitions

• 2015: “Selección=Relación”, Espacio Monitor, Caracas, Venezuela.
• 2015: “New Dialogues 2”, Alejandra Von Hartz Gallery, Miami, USA.
• 2014: “Blog-ReBlog“, Austin Center for Photography, Austin, USA.
• 2014: “Grafica Mercantil, Indagación y seguimiento”, Espacio Mercantil, Caracas, Venezuela.
• 2014: “New Dialogues“, Alejandra Von Hartz Gallery, Miami, USA.
• 2013: “Momento Material”, Salón Comunal, Bogotá, Colombia.
• 2013: “XII Edición del Premio Eugenio Mendoza“, Sala Mendoza, 
Caracas, Venezuela.
• 2013: “A Language Beyond Form“, Alejandra Von Hartz Gallery, Miami, USA.
• 
2012: “Pedazos de Pais (II)“, Oficina#1, Centro de Arte 
Los Galpones, Caracas, Venezuela.
• 2012: “Juan Pablo Garza ·Suwon Lee · Ernesto Montiel”, 
ARTBO Feria Internacional de Arte de Bogotá.

• 
2012: “Lugares de transito“, Tabacalera, Madrid, Spain.
• 2012: “Papeles“, Oficina#1, Centro de Arte Los Galpones, 
Caracas, Venezuela.
• 2011: “Propuesta de arte emergente”, Centro de Arte los
Galpones (Galpón g7), Caracas, Venezuela.
• 2011: “Juan Pablo Garza · Rafael Serrano · Beto Gutiérrez”, 
ARTBO Feria Internacional de Arte de Bogotá, Colombia.
• 
2011: “Expedientes FOTOFIA 2011”, Los Secaderos 
Centro Cultural La Trinidad, Caracas, Venezuela.
• 2011: “Enemies of my enemies”, OCAD University Graduate Gallery, Toronto, Canada.
• 2011: “Affinity“, Kulter Gallery, Holanda, Amsterdam.

Collections

• Cisneros Fontanals Foundation (CIFO), Miami, USA.
• Colección Patricia Phelps de Cisneros (CPPC), New York – Caracas, USA – Venezuela.
• Museo de Arte Contemporáneo del Zulia (MACZUL), Maracaibo, Venezuela.
• Colección Mercantil, Caracas, Venezuela.

• Artists

My work encompasses site-specific installations, sculpture and video to works on paper.  In these works, issues of urbanization, transformation, regeneration, escape, collapse and nomadic existence have been predominant. While the work in the drawing studio serves as a means for a more intimate exploration of these issues, the foundation of my larger scale work lies in the alteration of found and recycled materials and environmental debris, often on site (including such source materials as books and printed matter, empty tins, old tires, bicycles, boat parts and building construction fragments) that are often altered to create sculptural objects and architectural spaces. These works take the visual form of functional objects while stripping them of their productivity to address notions of labor and utility, forcing an examination of our understanding of culturally specific forms while simultaneously exploiting and adapting their particular codes and associations.

Traducido del inglés

Mi obra abarca instalaciones de sitio específico, escultura y video hasta obra en papel. En estas obras, temas de urbanización, transformación, regeneración, escape, derrumbe y existencia nómada han sido predominantes. Mientras que el trabajo en el estudio de dibujo sirve como una forma más íntima de exploración de estas ideas, la base de mi obra a gran escala está en la alteración de materiales encontrados y reciclados y desechos ambientales, a menudo in situ (incluyendo fuentes como libros y material impreso, latas vacías, llantas viejas, bicicletas, partes de barco y fragmentos de construcción), que son a menudo modificados para crear objetos esculturales y espacios arquitectónicos. Estas obras toman la forma visual de objetos funcionales mientras que los despojan de su productividad para abordar nociones de labor y utilidad, forzando un análisis de nuestro entendimiento de formas culturalmente específicas, mientras que explotamos y adaptamos sus códigos y asociaciones particulares.

Selected Biographical Information

Education / Training

• 2000: Bard College, BA.
• Skowhegan School of Painting and Sculpture.

Prizes / Fellowships

• 2012: MACRO RESIDENCY, Rome.
• 2011: New York Foundation for the Arts (NYFA).
• 2010: ART OMI Residency, OMI, New York, USA.
• 2009-10: Marie Walsh Sharpe Foundation ‘space program’, New York, USA.
• 2008: ART MATTERS foundation, New York, USA.
• 2009: Residencia La Curtiduria, Oaxaca, Mexico.
• 2008: Residencia Kiosko, Santa Cruz, Bolivia.
• 2008: Sculpture Space, Utica, NY, USA.
• 2007: Mención Honorífica, IX Bienal De Cuenca, Ecuador.
• 2007: Skowhegan School of Painting and Sculpture, Maine, USA.
• 2005-6: Foundation for Contemporary Arts, New York, USA.
• 2003: Vermont Studio Art Center, Vermont  Beca.

Solo Exhibitions

• 2013: “Cuts, Burns, Punctures”, Drawing Center, New York, USA.
• 2013: “Quoin”, Eleven Gallery, New York, USA.
• 2012: “Parquette”, MACRO (museum of contemporary art Rome), Italy.
• 2010: “Aún Sin Titulo I”, Galería Revolver, Lima, Perú.
• 2010: “Aún Sin Titulo II”, Espacio Ex-Culpable, Lima, Perú.
• 2010: “Maquette For Landscape”, Galería Federica Schiavo, Roma, Italy.
• 2010: “Un Muro de Tochos”, Galería Arróniz Contemporáneo, Mexico, DF, Mexico.
• 2009: “Ishmael Randall Weeks”, Galería Eleven Rivington, New York, USA.
• 2008: “Refugio”, Galería Lucia De La Puente, Lima, Perú.
• 2008: “Experimentos, Camuflajes y Bunkers”, Galería Kiosko, Santa Cruz, Bolivia.

Group Exhibitions

• 2013: “Migrating Identities”, Yerba Buena Center for the Arts, San Francisco, California (Curator: Betti-Sue Hertz).
• 2013: “Panorámica”, Museo Palacio de Bellas Artes, México DF, Mexico.
• 2013: “Arte Al Paso. Colección Contemporánea del Museo de Arte de Lima”, Museo Banco de la Republica, Bogotá, Colombia.
• 2012: “The Camino Real Arcades”, AMIL space, Lima (Curator: Pablo Leon de la Barra).
• 2012:“The Peripatetic ­School: Itinerant drawing from Latin America”, Banco De la Republica, Bogotá, Colombia. (Curator: Tanya Barson).
• 2012: “S-Files Bienal”, Museo del Barrio, New York, USA. (Curators: Elvis Fuentes, Trinidad Carillo).
• 2010: “Greater New York”, MOMAPS1, New York, USA. (Curators: Klaus Biesenbach, Connie Butler, Neville Wakefield).
• 2010: “Planet of Slums”, Third Screening, NYC (Curadores: Omar Lopez-Chahoud & LaToya Ruby Frazier).
• 2010: “El Comienzo del Fin”, Patricia Ready Galeria, Santiago, Chile (Curator: Revolver Galeria).
• 2010: “Lush Life”, Collete Blanchard Gallery, NYC (Curators: Omar Lopez-Chahoudy Franklyn Evans).
• 2010: “Does the Angle Between Two walls have a happy Ending?”, Galeria Federica Schiavo, Rome, Italy (Curator: Ishmael Randall Weeks).

Publications

• Tanya Barson, Isobel Whitelegg, Pablo Leon de la Barra & Moacir Dos Anjos, “The Peripatetic School:  Itinerant Drawing from Latin America”, Ridinghouse, 2011.
• Sigismond de Vajay & André Baldinger, “Of Bridges and Borders”, JRP-Ringier.
• Toit Du Monde & KBB, EBS, Editoriale Bortolazzi Stei srl, Pg 253-67.
• Cynthia Hahn, Amy Levin “Objects of Devotion and Desire” Hunter College Press, Pg 16, 66-67, 2011.
• Christopher Von Ginhoven, “A Vailed Intimacy”, Catalogue for “Bruma” at 20 Hoxton square Gallery, London.  20 Hoston Square and Revolver Gallery, 2011.
• Klaus Biesenbach, Connie Butler, Neville Wakefield, “Greater New York 2010”,  MoMa PS1, pg.  112-13 & 162-63, 2010.

• David McFadden, “Slash: Paper Under the Knife”, Museum of Arts and Design & 5 Continents Editions, pg. 184-87, 2009.
• Lauren Cornell, Massimiliano Gioni, Laura Hoptman, “Younger Than Jesus: Artist Directory” The New Museum and Phaidon Press, pg. 507, 2009.
• X Bienal de la Habana, “Integración y Resistencia en la era Global”, Centro de Arte Contemporaneo Wilfredo Lam, La Havana, Cuba, pg. 454-55, 2009.
• Armando Williams, “Visiones del Arte Contemporaneo en el Perú” Galeria Lucia de la Puente, Lima, Perú, 2008.
• Miguel Zegarra-Jorge Villacorta, “La Construcción del Lugar Común” Museo De Arte Contemporaneo, Lima, Perú, 2008.
• IX Bienal de Cuenca, “Espacios, Tiempos Identitarios” Bienal de Cuenca, Ecuador, pg. 64-67 2007.
• Rodrigo Quijano, ‘Llámenme Ishmael: Notas sobre Balances y Tensiones en la Obra de Randall Weeks’, Catalogue for Estructuras, Simulacros, ICPNA, Lima, Perú, 2006.
• Jorge Villacorta, Augusto Del Valle, Miguel López, Sharon Lerner, Paulo Dam, Luis Alvarado, “Post-Illusiones. Nuevas Visiones, Arte Critico en Lima (1980-2006)” Fundación Wiese, pg. 113, 2006.

Collections

• Lima Art Museum (MALI).
• JUMEX Collection.
• Middlesbrough Institute of Modern Art (MIMA).
• Museo d’Arte Contemporaneo, Roma (MACRO).
• Madeira Corporate Services Collection, Portugal (curator Adriano Pedrosa).
• Albright-Knox Gallery.
• Deutsche Bank Collection (Liz Christensen, curator).

• Artists

The notion of gesture is the primary impulse behind my work. My videos, photographs, installations, sculptures and drawings are the result of subtle gestures that intend to reveal what goes unseen or unexamined, be it architectural similarities between a settlement in the Amazon forest and a small town in Michigan or the intensive labor required to clean a pristine modernist government building in Brasília. Architecture, as a manifestation of identity, ideology and economic power is of great interest to me, as it is to investigate the invisible supporting structures of modernity, urban life and capitalism. In dialogue with these concerns are my interest in indexical processes and the cultural and historical connotations of a given material. My investment in indexicality stems from its intrinsic relationship to our bodies and therefore proximity to the real. Not unlike what happens with history and its material evidences. My works on paper exist in a place between bi and tridimensionality, as they usually hold object-like qualities. Double-sided prints, ink and paper disintegrated into dust, crushed folds and creases are some examples on how I treat surfaces as material. This approach triggers a tension between representation and trace while combining body movements to the articulation of ideas.

Traducido del inglés

La noción del gesto es el primer impulse detrás de mi obra. Mis videos, fotografías, instalaciones, esculturas y dibujos son el resultado de sutiles gestos que intentan revelar lo que pasa desapercibido o sin estudiarse, ya sea similitudes arquitectónicas entre una aldea en la selva Amazónica con un pueblito de Michigan; o la intensa labor requerida para limpiar un edificio gubernamental prístino en Brasilia. La arquitectura como manifestación de la identidad, ideología y poder económico es de gran interés para mí, como lo es investigar las estructuras de soporte de la modernidad que son invisibles, la vida y el capitalismo. En diálogo con estas preocupaciones está mi interés en los procesos de indicio y las connotaciones culturales e históricas de un material. Mi dedicación al indicio parte de su relación intrínseca con nuestros cuerpos y por tanto a la proximidad con lo real, no muy alejado de lo que pasa con la historia y sus evidencias materiales. Mi obra en papel existe en un lugar entre la bi y tridimensionalidad, ya que por lo regular poseen cualidades de objeto. Grabados de dos caras, tinta y pape desintegrados en polvo y dobleces machucados, son ejemplos de cómo manejo las superficies como material. Este acercamiento provoca una tensión entre la representación y el trazo mientras combino movimientos corporales a la articulación de las ideas.

Selected Biographical Information

Education / Training

• 2013: Artpace, International Artist-in-Residence, San Antonio, USA. (guest curator: Hanru Hou)
• 2010-2012: Core Program, The Museum of Fine Arts, Houston, USA.
• 2011: SOMA summer, Mexico City, Mexico.
• 2010: Fundación Botín, Santander, Spain. (mentor: Mona Hatoum)
• 2009: Skowhegan School of Painting & Sculpture, Skowhegan, ME, USA.
• 2009: M.F.A., California Institute of the Arts, Valencia, CA, USA.
• 2000: B.F.A., Fundação Armando Álvares Penteado, São Paulo, Brazil.

Prizes / Fellowships

• 2013: ARC Grant, Center for Cultural Innovation.
• 2012: VI Concurso de Videoarte, Fundação Joaquim Nabuco.
• 2012: Artistic Innovation Grant, Center for Cultural Innovation.
• 2010-2012: Core Program Fellowship, The Museum of Fine Arts, Houston.
• 2009: Skowhegan School of Painting & Sculpture, Donald and Doris Fisher Fellowship / CalArts Matching Fellowship.
• 2009: CAA Los Angeles MFA Award, College Art Association.
• 2009: Deanʼs Grant, California Institute of the Arts.
• 2008: Interdisciplinary Grant, California Institute of the Arts.
• 2007-2009: Graduate Scholarship, California Institute of the Arts.

Solo Exhibitions

• 2013: “Brasília, Cars, Pools & Other Modernities”, Artpace, San Antonio, TX, USA.
• 2013: “Study for a Landscape”, Sicardi Gallery, Houston, TX, USA.
• 2012: “On Brasília”, Centre 3, Hamilton, Canada.
• 2011: “Gasto”, Luisa Strina Gallery, São Paulo, Brazil.
• 2009: “Real”, California Institute of the Arts, Valencia, CA (MFA Thesis).

Group Exhibitions

• 2013: “Panoramas do Sul – 18º Sesc_Videobrasil”, SESC Pompéia, São Paulo, Brazil.
• 2013: “Concreta Sonho”, Galerie Krinzinger, Vienna, Austria.
• 2013: “La Elipsis Arquitectónica”, Centro Cultural Universitario Tlatelolco, Mexico City, Mexico.
• 2013: “When Attitudes Became Form Become Attitudes”, Museum of Contemporary Art Detroit, MI, USA.
• 2012: “When Attitudes Became Form Become Attitudes”, CCA Wattis Institute, San Francisco, CA, USA.
• 2012: “Dallas Biennale”, Dallas Contemporary, Dallas, TX, USA.
• 2012 “Core Exhibition”, Glassell School of Art, Museum of Fine Arts Houston, Houston, TX, USA.
• 2011: “Building Arts”, Sicardi Gallery, Houston, TX, USA.
• 2011: “YLA 16: Thought Cloud”, Mexic-Arte Museum, Austin, TX, USA.
• 2011: “Nowhere Near Here”, Houston Center for Photography, Houston, TX, USA.
• 2011: “Core Exhibition”, Glassell School of Art, Museum of Fine Arts Houston, Houston, TX, USA.

Publications

• 2013: “La Elipsis Arquitectónica,” Centro Cultural Universitario Tlatelolco (exhibition publication).
• 2012: “When Attitudes Became Form Become Attitudes,” CCA Wattis Institute (exhibition catalogue).
• 2012: “Core Program,” Museum of Fine Arts Houston (exhibition catalogue).
• 2011: “Core Program,” Museum of Fine Arts Houston (exhibition catalogue).
• 2010: “Brasília by Foot,” Shifter 16: Pluripotential (April): 44-51.
• 2009: “Why Theory,” California Institute of the Arts M.F.A. 2009 (exhibition publication).

Collections

• The Museum of Fine Arts, Houston, USA.
• Kadist Art Foundation, France / USA.

Links

• Blaffer Art Museum
• Current Magazine
• Arquine
• Arttextum, Tejido de agentes culturales inspirados en Latinoamérica

• 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 Spanish

Electricity is the foundation of my work. Thanks to it, sculptures and installations can be perceived, and at the same time understood in different levels of relationships with the space that surrounds them, with the encircling architecture, with their social context or with spectators that directly interact with the work in a physical and psychological way.

The work’s content is in part due to the experiences during the period of dictatorship in Chile (1973-1989). This was a period which exerted great violence, intimidation and misinformation on the citizens. This climate of social instability also made evident an alert in the face of the lack of connection between the real and the apparent.

In another level of relationships, the works have a dialogue with the history of design and modern art, subverting its formal purity with their social content. The works presented here use electricity as power source, with a broad meaning: the electrical lights that often celebrate or honor a situation, show here the other side of their luminosity, i.e., darkness and fear, as simultaneous homage to seduction and alienation.

La electricidad es la base fundamental de mi trabajo, gracias a ella las esculturas e instalaciones  pueden ser percibidas y al mismo tiempo, comprendidas en distintos niveles de relaciones con el espacio que las rodea; con la arquitectura circundante,  con su contexto social o con espectadores que interactúan directamente con el trabajo en forma física y psicológica.

El contenido de las obras, en parte se debe a experiencias vividas durante el periodo de dictadura en Chile (1973-1989). Periodo que ejerció gran violencia, intimidación y desinformación en la ciudadanía. Este clima de inestabilidad social también evidenció una alerta ante la evidente desconexión entre lo aparente y lo verdadero.

En otro nivel de relaciones, los trabajos mantienen un dialogo con la historia del diseño y del arte moderno, subvirtiendo su pureza formal con sus contenidos sociales.

Los trabajos aquí presentados, ocupan la electricidad como fuente de poder con un amplio significado: las luces eléctricas que muchas veces celebran o festejan una situación, aquí muestran el otro lado de su luminosidad, es decir, la oscuridad y el miedo. Como homenajes simultáneos a la seducción y a la alienación.

Selected Biographical Information

Education / Training

• 1991-1995: Licenciado en Artes Visuales, Mención Grabado, Pontificia Universidad Católica de Chile, Santiago, Chile.

Prizes / Fellowships

• 2009: Altazor, Premio Nacional a las Artes Visuales, Chile.
• 2007: Fondart, Fondo Nacional de Desarrollo Cultural y las Artes, Santiago, Chile.
• 2006: Beca Fundación Joan Mitchell, New York, USA.
• 2005: -A.S.A.P, Kamp Kippy, Maine, USA.
• 2002: Residencia Gasworks, Programa de Intercambio Cultural Gasworks, Londres, UK.
• 2002: -Fondart, Fondo Nacional de Desarrollo Cultural y las Artes, Santiago, Chile.
• 2001: Art OMI, Residencia Internacional de Artistas, New York, USA.
• 2001: Fondart, Fondo Nacional de Desarrollo Cultural y las Artes, Santiago, Chile.
• 2001: Fondart, Fondo Nacional de Desarrollo Cultural y las Artes, Santiago, Chile.

Solo Exhibitions

• 2014: “Past Imperfect”, Izolyatsia Foundation, Donetsk, Ukraine.
• 2014: “This Land is Your Land”, Madison Square Park, New York, USA.
• 2013: “Where is the Next War?”, Galerie Daniel Templon, Paris, France.
• 2012: “Iván Navarro: Fluorescent light Sculptures”, Frost Art Museum, Miami, USA.
• 2012: “Nacht und Nebel”, Fondazione VOLUME!, Rome, Italy.

Group Exhibitions

• 2013: “Light Show”, Hayward Gallery, London, UK.
• 2012: “Eleventh Havana Biennial”, Centro de Arte Contemporáneo Wifredo Lam, Havana, Cuba.
• 2012: “Neon–Who’s Afraid of Red, Yellow and Blue?”, La Maison Rouge, Paris, France.
• 2011: “Permanent Collection (Courtney Smith and Iván Navarro)”, ICA Boston, Boston, USA.
• 2010: “Cairo, International Biennale”, Cairo, Egypt.

Publications

• Lauson, Cliff. “Light Art: An Immaterial Material”, (exh cat), Edit. SouthBank Centre, Londres, Reino Unido, 2013
• Rosenberg, David. “Le Néon Dans L’art des Années 1940 à nos jours – Néon: Who’s afraid of red, yellow and blue?”, (exh cat), Edit. Archibooks et La mansion rouge, Paris, Francia, 2012.
• Herzberg, Julia P. “Rethinking the Possible – Iván Navarro, Fluorescent Light Sculptures” (exh cat), Edit. The Patricia & Phillip Frost Art Museum Universidad Internacional de Florida, Miami, USA, 2012.
• Saavedra, Ana María y Alarcón, Luis. “Galería Metropolitana 2004-2010…”, Pachamama, Iván Navarro + Hueso Records (exh cat), Edit. Galería Metropolitana, Santiago, Chile, 2011.
• Flores, Tatiana. “¡El espectador está iluminado!” (exh cat), Edit. Caja de Burgos, Burgos, España, 2010.

Additional Links

• Iván Navarro Frost Art Museum, Miami
• ¿Dónde es la próxima guerra?
• Iván Navarro y su faceta musical: “En Chile, la música es más interesante que el arte”
• Ivan Navarro – Nacht und Nebel
• L’intervista / Ivan Navarro

• Artists

Selected Biographical Information

Education / Training

Publications

Collections

• Consejo Nacional de la Cultura y las Artes, Gobierno de Chile, Santiago de Chile.
• Museo de Arte Contemporaneo – Universidad de Chile, Santiago de Chile.

Links

• Interview with Cristóbal Lehyt 
• Interview with Macarena Molina
• Interview with Kerstin Von Gabain

• Artists

From CNN to the DNA, I focus my attention on reaching surfaces without the minor hope to get informed. Everyday, we are condemned to know more and understand less. This antiseptic process prefigures the first global semiotic indigestion. Reality collapses when one tries to portray an ocean by depicting drop after drop of water. My vision of the world is as precise as it is mistaken, and that is why I draw for hours with intense attention and no particular intention.

Traducido del inglés

De CNN al ADN, enfoco mi atención a alcanzar superficies sin la menor intención de estar informado. Todos los días estamos condenados a saber más y entender menos. Este proceso antiséptico prefigura la primera indigestión semiótica global. La realidad se colapsa cuando uno intenta representar un océano al ilustrar cada gota de agua. Mi visión del mundo es tan precisa como errada, y es por esto que dibujo por horas con intensa atención y sin particular intención.

Selected Biographical Information

Education / Training

• 1998: MFA, State University of New York, New Paltz, NY, USA.

Prizes / Fellowships

• 2012: XVII Premio Figari, Museuo Figari, Montevideo, Uruguay.

Solo Exhibitions

• 2012: Figari Prize XVII, Museo Figari, Montevideo, Uruguay
• 2012: “Functional Desinformation – drawings in Portuguese”, Instituto Tomie Ohtake, Sao Paulo, Brazil.
• 2012: “Lentissimo”, The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY, USA.
• 2012: Bienal de Cuenca, Ecuador.
• 2012: “No Idea”, Museum of Latin American Art, Long Beach, CA, USA.
• 2011: “Optimismo Radical”, NC-arte, Bogota, Colombia.
• 2011: “From Huguenot to Microwave”, Dorsky Museum, New Paltz, NY, USA.
• 2005: “El Papel Del Papel”, Centro Colombo Americano, Bogota, Colombia.
• 2003: “Construcciones & Demoliciones, dibujos en español”, Centro Cultural Reina Sofia, Montevideo, Uruguay.
• 2001: “Global Myopia”, Kemper Museum of Contemporary Art, Kansas City, MO, USA.

Group Exhibitions 

• 2013: “MOCA’s Permanent Collection: A Selection of Recent Acquisitions”, Museum of Contemporary Art, Los Angeles, CA, USA.
• 2010: “Al calor del pensamiento, Works from the Daros LatinAmerica Collection”, Fundacion Banco Santander, Madrid, Spain.
• 2008: “New Perspectives in Latin American Art, 1930-2006: Selections from a Decade of Acquisitions”, Museum of Modern Art, New York, NY, USA.
• 2008: “Drawn to Detail”, DeCordova Museum and Sculpture Park, Lincoln, MA, USA.
• 2008: “WALL ROCKETS: Contemporary Artists and Ed Ruscha”, curated by Lisa Dennison, Flag Art Foundation, New York, NY, USA.
• 2006: “Off/Fora”, 29th Pontevedra Biennal, Pontevedra, Spain.
• 2006: “Gyroscope”, Hirshhorn Museum and Sculpture Garden, Washington D.C., USA.
• 2005: “Drawing From the Modern 1975-2005”, Museum of Modern Art, New York, NY, USA.
• 2003: “Vision & Revision: Works on paper since 1960”, Museum of Fine Arts, Boston, MA, USA.
• 2002: 25th Sao Paulo Biennial, Sao Paulo, Brazil.

Publications

• 2006: “100 Latin American Artists”, EXIT Publishers, Madrid, Spain.
• 2005: “Vitamin D: New Perspectives in Drawing”, Phaidon Press, New York, NY, USA.
• 2004: Gwangju Biennial, catalog, text by Marco Maggi.
• 2003: Havana Biennial, catalog, text by Ana Tiscornia.
• 2003: IV Mercosur Biennial, catalog, text by Gabriel Peluffo.
• 2003: “Construcciones & Demoliciones”, essay by Robert Hobbs, Centro Cultural Reina Sofia, Montevideo, Uruguay.
• 2002: Weintraub, Linda. “Being Gently Subversive”, In The Making: Creative Options for Contemporary Art, d.a.p. Sao Paolo Biennial, catalog, text by Marco Maggi.
• 2001: III Mercosur Biennial, catalog, text by Angel Kalemberg.
• 2001: “Marco Maggi: Global Myopia”, Text by Dana Self, Kemper Museum of Contemporary Art, Kansas City, MO, USA.

Collections

• Museum of Modern Art, New York, NY, USA.
• Museum of Contemporary Art, Los Angeles, CA, USA.
• Whitney Museum of American Art, New York, NY, USA.
• The Drawing Center, New York, NY, USA.
• Daros Foundation, Zurich, Switzerland.
• Hirshhorn Museum and Sculpture Garden, Washington DC, USA.
• Museum of Fine Arts, Boston, MA, USA.
• Fine Arts Museum of San Francisco, San Francisco, CA, USA.
• Walker Arts Center, Minneapolis, MN, USA.
• Syracuse University, Syracuse, NY, USA.
• Museum of Latin American Art, Long Beach, CA, USA.
• The Rachofsky House, Dallas, TX, USA.
• El Museo del Barrio, New York, NY, USA.
• The Judith Rothschild Foundation, New York, NY, USA.
• Cisneros Collection, New York, NY, USA.
• Indianapolis Museum of Contemporary Art, Indianapolis, IN, USA.
• Kemper Museum of Contemporary Art, Kansas City, MO, USA.
• San Jose Institute of Contemporary Art, San Jose, CA, USA.

Links

• Micro & Soft On Macintosh Apple – Marco Maggi e Ken Salomon, 2004 (cortesia Galeria Nara Roesler)
• Marco Maggi, Clip of “Untitled”
• Fuera de Marco- Out of Frame (2004)
• Marco Maggi: D Ream
• Parking Any Time 
• By Disappointment Only 
  

• Artists

Translated from Spanish

I work mainly in oil on canvas, although I also regularly produce works of paper in ink, pencil or color pencils, as well as photography series. I make a seemingly abstract painting, nevertheless based on the light that comes through the workshop on an empty wall, and how it affects color.

I depart from a lighting situation (of lights and shadows) that I observe and to which I remain faithful. I believe simultaneously in a geometric structure (given by the planes of light or sun rays on the wall), and the shapeless color fields applied gesturally (though my attempt to reach color and shape precision in light). The result is a collision between two types of painting apparently impossible to reconcile: an ideal geometric structure and an atmospheric, gestural and undefined painting.

Photography takes geometry beyond the oil paintings, transforming them in flat and immediate images. At the same time they speak about the effect of light on color, since they portray the paintings subject to new light situations that complicate color and confuse what is painted with what is captured with the photographic lens.

I am interested in the legacy of modern geometry, but subverting it through the confrontation with an opposing painting that allows the environmental, the soft, the mudded, and the polluted. I research through my works the equivalence, deceptively unrecognizable, between geometry and light.

Trabajo mayormente en óleo sobre tela, aunque tambien produzco regularmente obras sobre papel hechas con tinta, lápiz o lápices de colores, así como series de fotografías.  Hago una pintura aparéntemente abstracta, sin embargo basada en la luz que penetra en el taller sobre una pared vacía, y en como ella afecta el color.

Parto de una situación lumínica (de luces y sombras) que observo y a la cual me mantengo fiel. Creo simultaneamente una estructura geométrica (dada por los planos de luz o sol sobre la pared), y campos de colores informes aplicados gestualmente (en mi intento de lograr la exactitud de color y forma de situaciones de luz o luminicas tan cambiantes). El resultado es un choque entre dos tipos de pintura aparentemente imposibles de reconciliar: una estructura geométrica ideal y perfecta, y una pintura atmosférica, gestual e indefinida.

Las fotografías llevan mas allá la geometría presente en los óleos convirtiéndolos en imágenes planas e immediatas. Al mismo tiempo ellas hablan del efecto de la luz sobre el color, ya que éstas retratan los oleos sometidos a  nuevas situaciones lumínicas que complican el color y confunden lo pintado con lo captado por el lente fotográfico.

Me interesa el legado de la geometría modernista, pero esta vez subvertido a través de su confrontación con una pintura normalmente contraria que permite lo atmosferico, lo blando, lo turbio, lo contaminado. Investigo a traves de mis obras una equivalencia, aparentemente irreconciliable, entre la geometría y lo lumínico.

Selected Biographical Information

Education / Training

• 1983: Université de Paris I, (Panthéon-Sorbonne), Paris, France, D.E.A., (Diplome d”études Approfondies).
• 1982: Maîtrise d’Esthétique.
• 1978: American University, Washington, D.C. BFA.

Solo Exhibitions

• 2013: “Juan Iribarren. Obra reciente”, Galeria Leme, Sao Paulo, Brazil.
• 2011: Henrique Faría Fine Art, New York, USA.
• 2009: “Juan Iribarren. Obra reciente”, Faría+Fábregas Galería, Caracas, Venezuela.
• 2004: “Juan Iribarren: Recent Works”, Sicardi Gallery, Houston, TX, USA.
• 2001: “Juan Iribarren, Obra reciente”, Museo Alejandro Otero, Caracas, Venezuela.
• 1998: “Juan Iribarren, Small Paintings”, GAGA, New York, NY, USA.
• 1994: Sala Mendoza, Caracas, Venezuela.

Group Exhibitions

• 2013: “Nuevos vinculos. Selección de obras de la trigésima Bienal de São Paulo“, Brazil.
• 2013: La Trinidad Parque Cultural, Caracas, Venezuela.
• 2012: 30 Bienal de São Paulo, São Paulo, Brazil.
• 2011: “Geometrias alteradas”, Faría+Fábregas Galería, Caracas, Venezuela.
• 2010: “Negativa Moderna”, Henrique Faría Fine Art, New York, NY, USA.
• 2010: “Then & Now: Abstraction in Latin American Art, 1950-Present”, Deutsche Bank, Gallery, New York, NY, USA.
• 2009: “Explorando el Sur”, Fundación Carlos de Amberes, Madrid, Spain.
• 2008: “New York”, Galería Astarté, Madrid, Spain.
• 2007: “Iberoamérica Glocal”, Casa de América, Madrid, Spain.
• 2005: “The (S) Files/The Selected Files”, El Museo del Barrio, New York, NY, USA.
• 2005: “Diálogos: Arte latinoamericano desde la Coleccion Cisneros”, Museo de Arte Moderno de Bogotá, Bogotá, Colombia.
• 2005: “Jump Cuts: Venezuelan Contemporary Art”, Coleccion Mercantil, Americas Society, New York, NY, USA.
• 2004: “The Fine Line (between something and nothing)”, Leslie Tonkonow Artworks + Projects, New York, NY, USA.
• 2004: “Arte contemporaneo venezolano en la Coleccion Cisneros, 1990-2004”, Museo de Arte Moderno Jesus Soto, Ciudad Bolivar, Venezuela.

Publications

• Perez Oramas, Thirtieth Bienal de Sao Paulo, The Imminence of Poetics (Catalogue), Brazil 2012.
• Espinel, Monica, Abstraction as an Expansive Venture. Then & Now: Abstraction In Latin American Art from 1950 to the Present (Catalogue). Deutsche Bank, NewYork, 2010.
• Perez Oramas, Luis, Mondrian? Notas sobre la pintura reciente de Juan Iribarren (Publication). Editorial Goliardos, Caracas, Venezuela, 2009.
• Palacios, Carlos E., Geografías (in)invisibles. Arte contemporáneo latinoamericano en la Colección Patricia Phelps de Cisneros (Catalog). Centro León, Dominican Republic, 2008.
• Palacios, Carlos E., The Materials of the Gaze. Arte al Dia International No. 114, 2006.
• Cullen, Deborah, In These Days. The S Files (The Selected Files) (Catalogue), New York, 2005.
• Fuenmayor, Jesús, Jump Cuts, Dislocated Continuities. Jump Cuts, Venezuelan Contemporary Art, Colección Mercantil (Catalogue). Americas Society, New York, 2005.
• Kaufman, John, Free Play ,Recent Paintings by Juan Iribarren (Libre Juego: pinturas recientes de Juan Iribarren). Museo Alejandro Otero (Publication), Caracas, 2001.

• Artists

Richard Garet interweaves various media including moving image, sound, multimedia performance, and photography. In work ranging from modified environments to site specific installations to audiovisual screening works, Garet constructs intimate spaces and immersive situations that draw attention to the processes of perception and cognition, and which activate sensorial, physical, psychological phenomena that reflect on the nature and experience of time. Garet’s pieces, whether conceptual in origin or stemming from his investigation of complex systems and algorithmic translations, are informed by the background noise established by mass media culture and the collective arena that surrounds him. Garet’s reductive process seeks to invert the normative function of this background noise, drawing it up from subliminal status to an active presence. He finds further inspiration from material interactions that incorporate problems of context, technology, defunctionalization, commodity, and environment.

Traducido del inglés

Richard Garet combina varios medios incluyendo imagen en movimiento, sonido, performance multimedia y fotografía. A partir de obras que abarcan desde ambientes modificados a instalaciones específicas u obras de proyección audiovisual, Garet construye espacios íntimos y situaciones inversivas que se enfocan en procesos de percepción y cognición, activando fenómenos sensoriales, físicos y psicológicos que reflexionan acerca de la naturaleza y el paso del tiempo. Las piezas conceptuales de Garet, o las surgidas a partir de su investigación de sistemas complejos y traducciones de algoritmos, se originan del ruido de fondo establecido por la cultura de medios de masa y el campo de colectividad que lo rodea. El proceso de reducción de Garet tiene como objetivo invertir la función normativa de este ruido de fondo, llevándolo de su estatus subliminal a una presencia activa. Garet encuentra mayor inspiración de las interacciones materiales que incorporan problemas de contexto, tecnología, des-funcionalización, mercancía y medio ambiente.

Selected Biographical Information

Education / Training

• Bard College, MFA, New York, USA.
• Empire State College, B.A., New York, USA.
• The Art Students League of New York, Fine Arts Painting, Four Year Certificate, New York, USA.

Prizes / Fellowships

• 2013: Residency and Stipend, The Clocktower, Art on Air.
• 2011: Emergency Grant, Foundation for Contemporary Arts.
• 2012: Residency and Stipend, Issue Project Room.
• 2006: Grant, New York State Council on The Arts, Electronic, Media, and Film Program.
• 2006: Residency, The Frank Lloyd Wright School of Architecture at Taliesin West.

Solo Exhibitions

• 2013: “Extraneous to the Message”, Julian Navarro Projects, LIC, NY, USA.
• 2012: “The Spacious Now and the Scale of the instantaneous”, Studio 10, Brooklyn, NY, USA.
• 2011: “Espacios No-Euclídeos”, EAC – Espacio De Arte Contemporáneo, Montevideo, Uruguay.
• 2010: “ELECTROCHROMA”, The Invisible Dog Art Center, Brooklyn, NY, USA.
• 2009: “SONOCHROME”, The Public Trust, Dallas, TX, USA.
• 2007: “Time Frame”, Gallery 415, San Francisco, CA, USA.

Group Exhibitions

• 2013: “Soundings: A Contemporary Score”, MoMA, New York, USA.
• 2012: “5X5 Real Unreal”, Museum of Art Acarigua-Araure, Portuguese, Venezuela.
• 2012: “Machine Surrender”, FIFI Projects, Mexico City, Mexico.
• 2010: “Never Can Say Goodbye: Former Tower Records Store”, NO LONGER EMPTY, NYC, USA.
• 2009: “LEER VOLL/Fully Empty”, Diapason Gallery, Brooklyn, NY, USA.
• 2008: “Possibilities of Action: The Life of a Score”, MACBA, Barcelona, Spain.

Links

• Arte Al Día International 
• On Sound. Richard Garet in Conversation with Seth Cluett
• Going to MoMA to See the Sounds, The New York Times 

• Artists

My focus has always been on questioning the accuracy of our perception, our interpretation of reality.  I have tried to capture the state of flux of everything. Participation of the viewer is important because it brings the person into the sculpture; the public is the performer and the viewer, and that dual involvement is an important element of my work. I explore the ideas of sequencing, beginning and end, making objects that are simple networks with no definite shape and that exist between the second and third dimension with infinite possible configurations.

Traducido del inglés

Mi enfoque siempre ha sido el cuestionar la precisión de nuestra percepción, de nuestra interpretación de la realidad. He intentado capturar el estado de flujo de todas las cosas. La participación del espectador es importante porque trae a la persona dentro de la escultura; el público es el que realiza el performance y el espectador, y esa participación binaria es un elemento importante de mi obra. Exploro ideas de secuencia, principio y fin, realizando objetos que son redes simples sin forma definida y que existen entre la segunda y tercera dimensión, con configuraciones posibles infinitas.

Selected Biographical Information

Education / Training

• 1980: BFA, State University of New York at Old Westbury.
• 1977-8: Summer Internship, Camnitzer-Porter Studio.

Prizes / Fellowships

• 2013: Pollck-Krasner Foundation Grant, New York, USA.
• 2003: Civitella Ranieri Artist Residency, Umbria, Italy.
• 2001: Anonymous Was A Woman Award, New York, USA.
• 2000: Joan Mitchell Foundation Inc, Award, New York, USA.
• 1986: Pollock-Krasner Foundation Grant, New York, USA.
• 1983-5: PS-1 National Studio Program Artist Residency, New York, USA.

Solo Exhibitions

• 2013: “Integral Geometries”, Special Project Room, MoLAA, Long Beach, CA, USA.
• 2011: “Constructions”, Cecilia de Torres Ltd. New York City, USA.
• 2010: “New Paradigms”, Alejandra von Hartz, Miami, USA.
• 2008: “Marta Chilindron”, Galeria Laura Marsiaj, Rio de Janeiro, Brazil.
• 2006: “Sculpture in Four Dimensions”, Amelie Wallace, SUNY, New York City, USA.
• 2006: “Marta Chilindron”, VCUQ Gallery, Doha, Qatar.
• 2004: “New Work”, Cecilia de Torres, Ltd, New York City, USA.
• 2001: “Sculptures”, Dot Galerie, Geneva, Swizterland.
• 1999: “Cinema Kinesis, Contemporanea”, El Museo del Barrio, New York City, USA.
• 1997: “Dimensions”, Cecila de Torres, Ltd, New York City, USA.
• 1994: “Talking Paintings & Dreams”, IBEU, Rio de Janeiro, Brazil.

Group Exhibitions

• 2014: “New Territories: Design and Art from Latin America”, Museum of Art and Design, New York City, USA.
• 2013: “Group Show”, Cecilia de Torres Ltd. New York City, USA.
• 2012: “LA to LA, Selections from Sayago & Pardon Collection”, LA Art Core, Los Angeles, USA.
• 2012: “Group Exhibition”, Sicardi Gallery, Houston, Texas, USA.
• 2011: “Tridimensional”, Alejandra von Hartz Gallery, Miami, USA.
• 2010: “Fokus Lodz Biennale 2010”, Lodz, Poland.
• 2010: “The Constructive Elan”, Alejandra von Hartz Gallery, Miami, USA.
• 2006: “Sites of Latin American Abstraction”, CIFO (Cisneros Fontanal Foundation), Miami, Florida, USA.
• 2005: “The Art of Point of Contact”, Everson Museum of Art, Syracuse, New York, USA.
• 2004: “Up & Coming, Invited artist”, ARCO 04, Madrid, Spain.
• 2001: “Five Easy Pieces”, Dot Galerie, Basel, Swizterland.
• 2000: “Square Root”, Cecilia de Torres, Ltd., New York City, USA.
• 1997: “Studio Camnitzer”, Museo Nacional del Grabado, Buenos Aires, Argentina.
• 1992: “The Art Mall”, The New Museum, New York City, USA.
• 1992: “500 Años”, Centro Recoleta, Buenos Aires, Argentina.
• 1985: “PS-1 Artists”, The Clocktower Gallery, New York City, USA.

Publications

• 2012: Beta Sichel, “Constructions,” Arte al Dia International, #139.
• 2012: Tatiana Flores, “Marta Chilindron at Cecilia de Torres,” ArtNexus, Vol. 11 #84.
• 2012: Robert C. Morgan, “Sculpture in New York,” World Sculpture News, Vol. 18 #1
• 2011: Constructions exhibition catalogue, essays by Eleanor Heartney and Richard Vine.
• 2010: Goschka Gawlik, “Kunst News, Focus Lodz Biennale 2010”, 2-10-10, art magazine, Vienna, Austria.
• 2001: Richard Vine, “Report from Rio de la Plata,” Art in America, Oct.
• 1997: Jonathan Goodman, “Marta Chilindron at Cecilia de Torres,” Art in America, Sept.
• 1996: Ana Tiscornia, “Perverting the Specific Object,” Atlantica Int. Revista de las Artes, #15.
• 1993: Monica Amor, “Contemporary Art of Argentina, Brazil & Colombia,” Art Nexus, 6-8/93.
• 1992: Berta Sichel, “Touched by Light,” Art Nexus.

Collections

• Jack S. Blanton Museum, Austin, Texas, USA.
• Cisneros Fontanal Art Foundation, Miami, Florida, USA.
• Sayago & Pardon Collection, Los Angeles, California, USA.
• El Museo del Barrio, New York, New York, USA.
• Fonds d’art contemporain de la ville de Genève, Switzerland.
• Banco do Spiritu Santo, Portugal.

Additional Links

• Marta Chilindron – 9 Triangles (blue, pink, yellow)
• Marta Chilindron: Integral Geometries Exhibition at MOLAA 2013

• Artists