Documenti di Didattica
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org
Parc 2016
Anibal Jozami
BIENAL INTERNACIONAL
DE ARTE CONTEMPORANEO
DE AMERICA DEL SUR.
Argentina Bolivia Brasil Chile Colombia Ecuador Guyana Paraguay Per Surinam Uruguay Venezuela
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BARRO
ARTE CONTEMPORANEO
CABOTO 531 LA BOCA
WWW.BARRO.CC
#150
Vilos, 1981/2015
Foto / Photo: Rodolfo Martnez
P E R F I L D E A R T I S TA S
INSTITUCIONES
REVIEWS
90-111
22
50
MOMA
28
54
Nicanor Aroz
38
John Castles
68
Centro Universidad de Mxico
By/Por Sonia Becce, Buenos Aires
E N T R E V I S TA
74
Museo Gurvich
78
60
Anbal Jozami
1 2 /. C O N T E N I D O S
Nuevas cartografas
MIAMI
CARACAS
LIMA
Alberto Snchez
@ranivilu
www.ranivilu.com
EFG
Experience a
boundary-challenging
modern artist in this
major retrospective
Joaqun Torres-Garca:
The Arcadian Modern
Now on View
The Museum of
Modern Art
11 West 53 Street
Manhattan
moma.org
ear readers,
We are pleased to present the latest issue of Arte al Da
Internacional. Our aim is, once again, to show and
to tell you about the most important events in the art world in
different points around the globe. Specifically, in this 150th issue,
we provide a register of Tramas, the major exhibition of enigmatic
and passionate Cuban artist Gustavo Prez Monzn at the Cisneros
Fontanals Art Foundation. We have also included material on
bold experimental artist Nicanor Aroz, who deploys enormous
creativity to explore an array of materials and techniques in a
recent exhibition at Barro gallery in Buenos Aires. The work of John
Castles, a geometric artist with a delicate sensibility, is the subject of
a fine exhibition curated by Osbel Suarez for Nueveochenta gallery
in Bogot.
The article New Cartographies in Contemporary Art is an
overview of exhibition venues in Buenos Aires, where new forms of
exhibiting art in different locations and new uses of the exhibition
space itself are in keeping with recent trends in contemporary art.
In Montevideo, meanwhile, the re-opening of the Museo Gurvich
is cause for great joy on the Uruguayan art scene; the museums
audacious and innovative approach is the topic of an article in this
issue.
Indeed, the mentor of Jos Gurvich, for whom that museum
in Montevideo is named, is the subject of a major exhibition of
contemporary art, specifically a retrospective at the Museum of
Modern Art in New York. It is with pleasure that we review that
well-deserved tribute to Joaquin Torres Garca, an artist who
revolutionalized visual language in South America.
With an article on the first group show of Latin American Artist
ever held in Paris, we hope to formulate a historical reflection on
issues that continue to be relevant to artists today as they choose
themes and to curators as they devise strategies. The CENTRO
project in Mexico, meanwhile, is an institutional strategy that
promises future exhibition and reflection on the arts in the
Americas. In that same spirit, it is our privilege to present an
interview with Anbal Jozami in which he discusses the challenges
of globalizing from the south.
As always, at the end of this issue we include reviews of the most
important shows currently on exhibit around the world.
Finally, we would like to inform you that we have revamped our
website. Please visit our new website, www.artealdia.com, for daily
updates to keep abreast of whats going on in the art world between
issues.
Diego Costa Peuser
Publisher
1 6 /. E D I T O R I A L
stimados lectores,
Nos complace presentarles sta nueva edicin de Arte al Da
Internacional que llega a su nmero 150. En esta oportunidad
hemos apostado una vez ms a mostrarles y contarles los ms
destacados acontecimientos artsticos en distintos puntos geogrficos. En
primer lugar, quisimos dejar registro de Tramas, la significativa muestra
de Gustavo Prez Monzn en la Cisneros Fontanals Art Foundation,
que rescata la obra de este enigmtico y apasionado artista cubano.
Tambin quisimos desplegar material sobre el experimental y osado
Nicanor Aroz, quien demuestra una enorme creatividad para explorar
materiales y tcnicas en su exposicin en la galera Barro de Buenos
Aires. La obra de John Castles, artista de una geometra sensible y
delicada, es objeto de una valiosa exhibicin en la galera Nueveochenta
de Bogot, curada por Osbel Suarez.
En el artculo Nuevas cartografas en el arte contemporneo, hemos
desplegado la actualidad de los espacios de exhibicin en Buenos Aires.
El surgimiento de nuevas formas de mostrar y aprovechar el espacio y la
preferencia por nuevas ubicaciones marca una tendencia que va a la par
de los cambios en el arte contemporneo. Por otra parte, la noticia de la
reapertura del Museo Gurvich en Montevideo es motivo de gran alegra
en la escena artstica uruguaya, y por eso destinamos un artculo a
cubrir esta audaz propuesta musestica.
Es al maestro de Jos Gurvich quien da nombre a la institucin
oriental- a quien est dedicada una de las grandes muestras actuales
sobre arte contemporneo. Se trata nada menos, que del gran artista
Joaquin Torres Garca, del que se realiz una retrospectiva en el MoMA
de New York. Nos complace ofrecer una mirada a este justo tributo a
quien revolucion el lenguaje plstico en el sur del continente.
Con una nota sobre la primera exposicin colectiva de arte
latinoamericano en Pars, queremos acercar una reflexin histrica
sobre problemticas que hoy gozan de una enorme vigencia, tanto en los
temas elegidos por los artistas, como en las estrategias de los curadores.
El proyecto CENTRO inaugurado en Mxico es una de estas estrategias
institucionales que prometen un futuro para mostrar y reflexionar sobre
las artes en Amrica. Con el mismo espritu presentamos la entrevista
que gentilmente nos concedi Anbal Jozami, en la que expone los
desafos de globalizar desde el sur.
Como es habitual, incluimos al final de esta edicin, reseas sobre las
ms importantes exhibiciones que estn teniendo lugar en el mundo. Por
ltimo, queremos contarles que hemos actualizado nuestro sitio web, en la
que el lector encontrar informacin diariamente renovada sobre lo que
est ocurriendo en el mundo del arte entre la publicacin de cada nmero.
Diego Costa Peuser
Editor
8 3 H A L F - F LO O R , F U L L - F LO O R
AND DUPLEX RESIDENCES
O N M I A M I S M U S E U M PA R K .
FROM $5.8 MILLION.
1000MUSEUM.COM
1.305.570.3664
INFO@1000MUSEUM.COM
2 2 /. A R T I S T S P R O F I L E
Gustavo Prez
Monzn
THE SECRETS OF THE UNIVERSE
LOS SECRETOS DEL UNIVERSO
POR / BY
P E R F I L D E A R T I S TA S / . 2 3
The artist installing his work Hilos (Threads) / El artista instalando su obra Hilos, 1984/2015
Site specific installation. Thread and tape on wall / Instalacin site-specific. Hilos y cinta adhesiva sobre pared
Variable dimensions / Dimensiones variables
Foto / Photo: Yoandry Hernndez
Cortesa / Courtesy CIFO | Cisneros Fontanals Art Foundation
2 4 /. A R T I S T S P R O F I L E
P E R F I L D E A R T I S TA S / . 2 5
2 6 /. A R T I S T S P R O F I L E
P E R F I L D E A R T I S TA S / . 2 7
2 8 Issue
/ . A R149
TISTS
28
PROFILE
P E R F I L D E A R T I S TA S
/ ARTISTS PROFILES
Nicanor Araoz
FROM SPOILED BRAT TO GLTICA:
FOUR ENCOUNTERS WITH NICANOR ARAOZS WORK
DE MOCOSO INSOLENTE A GLTICA:
CUATRO ENCUENTROS CON LA OBRA DE NICANOR AROZ
BIO
Nicanor Aroz (Buenos Aires, 1981) produces objects, installations
and sculptures using as his references the comic, imagery from
Internet and romantic mythologies taken from gothic art. In
his works, procedures involving the surrealistic object, such
as the montage of dissimilar elements and the dreamlike, take
on frantic forms similar to nightmares in which the drives of
pleasure and pain appear to merge. Aroz uses materials as if
they were atoning for sadistic sensations and takes them to the
utmost limits of expressivity and torsion. In narrative scenes he
mixes plaster monsters, amorphous masses of resin, trainers,
neon lights and biscuits with embalmed cats, mice and birds, thus
shaping a world of emotional psychedelics with visual references
to the domestic environment of a child and an adolescent.
POR / BY
Santiago Rueda
Bogot
P E R F I L D E A R T I S TA S / . 2 9
3 0 /. A R T I S T S P R O F I L E
la gnesis de su trabajo se
encuentra en los dibujos quebrados
y rpidos que el artista realiza en
hojas arrancadas de cuadernos
de papel, y en las que con esferos,
lpices de colores y marcadores,
descubre, escenifica y recrea
delirantes y espantosas pesadillas
escenifica y recrea delirantes y espantosas pesadillas,
escenas truculentas donde alcachofas, corazones flechados,
personajes de dibujos animados, felinos, hombres disfrazados
y adolescentes de ambos sexos se enfrascan en aterradoras
batallas donde el amor se confunde con sexo, el sexo con
Untitled / Sin ttulo, (2014)
Paper, wicker basket, glazed ceramic, rope, amethyst and neon. 190 x 190 x 140 cm /
Papel, cesta de mimbre, cermica esmaltada, soga, amatista y nen. 190 x 190 x 140 cm
P E R F I L D E A R T I S TA S / . 3 1
3 2 /. A R T I S T S P R O F I L E
P E R F I L D E A R T I S TA S / . 3 3
3 4 /. A R T I S T S P R O F I L E
MADRID
ORGANIZA
Feria de Madrid
GERMAN
BOTERO
GEOMETER & ARCHEOLOGIST
Guerreros y Tumba
Wood Carreto-Nazareno-Guayacan.
143.5 x 168.9 x 91 in. (56.5 x 66.5 x 36 cm)
2012
3 8 /. A R T I S T S P R O F I L E
P E R F I L D E A R T I S TA S
/ ARTISTS PROFILES
John Castles
IMAGINARY VOLUMES
LOS VOLMENES IMAGINARIOS
BIO
John Castles was born in Barranquilla in 1946. He studied
Architecture at the Universidad Javeriana, Bogot between 1966
and 1969, and at the Universidad Nacional en Medelln between
1969 and 1972. His work finds its roots in Colombian abstract
geometric tradition. His sculptures made in rusted iron sheets
communicate expressive qualities inherent to the materials
themselves and to the veracity of his structures, highlighting
natural forces such as gravity and weight, which allowed him
to discard stands, conveying an earthly quality to his works.
POR / BY
Osbel Surez
Madrid
P E R F I L D E A R T I S TA S / . 3 9
1 All the words in quotation marks in this text are taken from John
Castless replies to a questionnaire on Colombian art in general and his
work in particular sent to him by the author via e-mail on May 19, 2015; his
replies were received between May 25 and May 30 of the same year.
4 0 /. A R T I S T S P R O F I L E
P E R F I L D E A R T I S TA S / . 4 1
4 2 /. A R T I S T S P R O F I L E
P E R F I L D E A R T I S TA S / . 4 3
4 4 /. A R T I S T S P R O F I L E
veronica
riedel
Joaqun
Torres-Garcia:
5 0 /. I N S T I T U T I O N S
POR / BY
Claire Breukel
New York
he retrospective of Uruguayan artist Joaqun TorresGarca (1874-1949) at the Museum of Modern Art in
New York is a journey of creative and social discovery
through the artists transitory life. Organized by Estrellita
Brodsky Curator of Latin American Art, Luis Prez-Oramas,
and Curatorial Assistant of MoMAs Drawings and Prints
department, Karen Grimson, the chronology of paintings,
drawings, books and sculptures illustrate three major time
periods in the artists career, and bring together multiple
stylistic and philosophical influences. This reveals not only
the artists eclectic practice, but also the social and political
climate in which he made work while living in Barcelona,
New York and Montevideo. Titled The Arcadian Modern, the
exhibition follows Torres-Garcias transition from creating
representational workswhich he termed concreteto
gridded and more abstract works that reflect his living
environments as well as the creative contemporaries with
whom he circulated, including the likes of Pablo Picasso,
Joan Mir, Joseph Stella, and more. This evolving creative
timeline is encapsulated in Monument, a freestanding
sculpture emblazoned with the words Form, Abstraction
and Concrete, which stand beneath Torres-Garcas final
series as if commemorating him.
a retrospectiva del artista uruguayo Joaqun TorresGarca (1874-1949) en el Museo de Arte Moderno de Nueva
York es un viaje de descubrimiento creativo y social a travs
de la vida transitoria del artista. Organizada por el Curador de Arte
Latinoamericano Estrellita Brodsky, Luis Prez-Oramas, y por la
Curadora Asistente del Departamento de Dibujos y Grabados del
MoMA, Karen Grimson, la cronologa de pinturas, dibujos, libros
y esculturas ilustra tres perodos de tiempo fundamentales en
la carrera del artista, y rene mltiples influencias estilsticas y
filosficas. Esto revela no solo la prctica eclctica del artista,
sino tambin el clima social y poltico en el que produjo su obra
mientras viva en Barcelona, Nueva York y Montevideo. Titulada
The Arcadian Modern (El Idlico Pastoral Moderno), la exposicin
sigue la transicin de Torres-Garca de crear obras figurativas
que l denominaba concretas a obras reticuladas y ms
abstractas que reflejan los ambientes en los que ha vivido as
como los contemporneos creativos con los que ha circulado,
incluyendo a Pablo Picasso, Joan Mir, Joseph Stella y otros.
Esta lnea de tiempo en evolucin se encuentra encapsulada
en Monument, (Monumento), una escultura sin apoyos
ornamentada con las palabras Form (Forma), Abstraction
(Abstraccin) y Concrete (Concreto), incluidas bajo la serie final
de Torres-Garca, como conmemorndolo.
INSTITUCIONES
/. 5 1
5 2 /. I N S T I T U T I O N S
Installation view of Joaqun Torres-Garca: The Arcadian Modern at The Museum of Modern Art, New York (October 25, 2015February 15, 2016). /
Vista de la instalacin de Joaqun Torres-Garca: The Arcadian Modern en el Museo de Arte Moderno de Nueva York (octubre 25 de 2015febrero 15 de 2016).
Photo: Jonathan Muzikar. 2015 The Museum of Modern Art, New York
Joaqun-Torres Garca (Uruguayan, 18741949). Composition. / Joaqun TorresGarca (Uruguayo, 18741949). Composicin. (1931).
Oil on canvas. 36 1/8 x 24 (91.7 x 61 cm). The Museum of Modern Art, New York.
Gift of Larry Aldrich, 1956. / leo sobre tela. (91.7 x 61 cm). El Museo de Arte
Moderno, Nueva York. Donacin de Larry Aldrich, 1956.
Sucesin Joaqun Torres-Garca, Montevideo 2015. Photo Thomas Griesel.
INSTITUCIONES
/. 5 3
Exposition dArt
Amricain-Latin,
Paris, 1924
FIRST GROUP EXHIBITION
OF LATIN AMERICAN ART
POR / BY
5 4 /. I N S T I T U T I O N S
/. 5 5
Pablo Curatella Manes. La femme au gros manteau (La mujer del tapado grueso), 1921-1923.
Plaster of Paris, 15.7 x 10.6 x 6.7 in. Collection of the National Museum of Fine Arts,
Buenos Aires (an edition cast in bronze was showcased at the exhibition). /
Yeso, 40 x 27 x 17 cm. Col. Museo Nacional de Bellas Artes, Buenos Aires
(en la exposicin se exhibi una edicin fundida en bronce)
5 6 /. I N S T I T U T I O N S
INSTITUCIONES
/. 5 7
5 8 /. I N S T I T U T I O N S
INSTITUCIONES
/. 5 9
CONSIDER GLOBALITY
FROM THE SOUTH
PLANTEARNOS LA
GLOBALIDAD DESDE EL SUR
6 0 /. I N T E R V I E W
I
E
ENTREVISTA
/ INTERVIEW
Anbal
Jozami
El Rector de la Universidad Nacional de Tres
de Febrero y flamante Director General de la
Bienal de arte de Amrica del Sur, convers
con Arte al Da sobre este nuevo proyecto de
integracin regional que se llevar a cabo en
Buenos Aires en 2017.
POR / BY
E N T R E V I S TA / . 6 1
SE ADVIERTE
ESTA VOCACIN
INTEGRADORA EN
LA CREACIN DE LA
UNASUR. TODO LO
QUE SE HAGA PARA
AFIANZAR VNCULOS
CULTURALES ENTRE
NUESTROS PASES
ES ACERTADO Y
CONTRIBUIR AL
ACERCAMIENTO.
originando la primera
Bienal Internacional de
Arte. Podemos enumerar
otras y veremos que se
dan fenmenos similares.
Charly Nijensohn. El xodo de los olvidados 13th day #26. Photo 30 x 12.8 cm /
Charly Nijensohn. El xodo de los olvidados - 13vo da #26. Fotografa 30 x 12.8 cm
6 2 /. I N T E R V I E W
THIS INTEGRATING
VOCATION CAN
ALSO BE NOTICED
IN THE CREATION
OF THE UNASUR.
EVERYTHING THAT
MAY BE DONE TO
CONSOLIDATE
CULTURAL BONDS
BETWEEN OUR
COUNTRIES IS
CORRECT AND WILL
CONTRIBUTE TO
THIS APPROACH.
This is the reason why we
consider an ambit where
it is possible to establish a
dialogue on a par between
our artists and those who
appear today as the most
respected at world level.
This not only has to do with
artists, in the strict sense,
but also with the production
of theory, our theoreticians,
who in many cases surpass
the production of Europeans
and Americans, and do
not reach the equivalent
levels of circulation that
para el constructivismo
uruguayo, los movimientos
de arte social de Argentina,
buena parte de los artistas
cinticos, el muralismo
ecuatoriano, entre otros
procesos histrico artsticos).
Pareciera normal, o peor,
casi nadie se cuestiona el
hecho de que en los grandes
museos est ausente la obra
de Portinari, Revern o de
Berni, por ejemplo. Por eso
nos planteamos un mbito
donde se pueda establecer
un dilogo en condicin
de paridad entre nuestros
artistas y aquellos que
aparecen hoy como los ms
respetados a nivel mundial.
Esto no slo tiene que ver
con los artistas propiamente
dichos sino tambin con
la produccin de teora,
nuestros tericos, que en
muchos casos superan en
produccin a los europeos y
norteamericanos, no alcanzan
el nivel equivalente de
circulacin que ameritaran.
E N T R E V I S TA / . 6 3
Se trata de replantearnos
los canales de circulacin o
de rehacer los pasaportes
o rediagramar el atlas
mundial, como dicen dos
pensadores renombrados
de Sudamrica. En otras
palabras, de plantearnos la
globalidad desde el sur como
haba imaginado TorresGarca. Cuando se analiza
que hoy la exposicin con
mayor pblico en Paris es
la de artistas congoleses
se puede vislumbrar que es
el momento para hacerlo.
6 4 /. I N T E R V I E W
WE CONSIDER AN
AMBIT WHERE
IT IS POSSIBLE
TO ESTABLISH
A DIALOGUE ON
A PAR BETWEEN
OUR ARTISTS AND
THOSE WHO APPEAR
TODAY AS THE
MOST RESPECTED
AT WORLD LEVEL.
The idea is to gradually
integrate, through a virtuous
collaboration process, art
schools, universities, etc.,
for an integral and articulate
development of this biennial
format that we are imagining,
greater integration and
wider social scope.
CONDICIN DE
PARIDAD ENTRE
NUESTROS ARTISTAS
Y AQUELLOS QUE
APARECEN HOY COMO
LOS MS RESPETADOS
A NIVEL MUNDIAL.
Quin va a curar la bienal ?
No nos planteamos una
bienal de autor con un
pensamiento individual
sino que los criterios
surgirn de un amplio
comit curatorial integrado
por quienes surjan del
concurso que llamaremos
y otros que sern invitados
por la Direccin de la
Bienal. La coordinacin
de este conjunto estar a
cargo de Diana Wechsler,
reconocida profesional de
la Argentina con la que ya
tengo experiencia de trabajo
conjunto en el marco del
MUNTREF (Museo de la
Universidad Nacional de Tres
de Febrero), que yo dirijo.
Nos planteamos tambin
valorar la opinin de algunos
New York
Panorama of the City of New York, Queens Museum. Photography: Spencer Lowell
ART
DESIGN
ARCHITECTURE
@Cultured_Mag
A detail from Cultureds Fall Artist
Edition cover by Mary Weatherford.
6 8 /. I N S T I T U T I O N S
POR / BY
Sonia Becce*
Buenos Aires
INSTITUCIONES
/. 6 9
7 0 /. I N S T I T U T I O N S
INSTITUCIONES
/. 7 1
The founders Gina Diez Barroso and Abraham Franklin in the opening day. Photo courtesy of Centro. /
Los fundadores Gina Diez Barroso y Abraham Franklin en el da de la inauguracin.
Photo courtesy of Centro. / Fotografa cortesa de Centro.
7 2 /. I N S T I T U T I O N S
INSTITUCIONES
/. 7 3
New Proposal
Propuesta Renovada
MUSEO GURVICH (Montevideo)
POR / BY
Cristina Rossi
Buenos Aires
INSTITUCIONES
/. 7 5
7 6 /. I N S T I T U T I O N S
/. 7 7
NUEVAS CARTOGRAFAS
EN EL ARTE CONTEMPORNEO
Buenos
Aires
NEW CARTOGRAPHIES
IN CONTEMPORARY ART
The new Ruth Benzacar Gallerys space before the mounting of Liliana Porters exhibition.
/ El nuevo espacio de la galera Ruth Benzacar previo al montaje de la muestra de Liliana Porter.
POR / BY
Laura Casanovas
Buenos Aires
7 8 /. I N S T I T U T I O N S
INSTITUCIONES
/. 7 9
8 0 /. I N S T I T U T I O N S
INSTITUCIONES
/. 8 1
Opening of Maxi Rossinis exhibition Ejercicios at Gachi Prieto Gallerys new venue.
/ Inauguracin de la exhibicin Ejercicios, de Maxi Rossini, en el nuevo espacio de Gachi Prieto Gallery.
8 2 /. I N S T I T U T I O N S
Organizacin Techint
Fundacin Proa
Av. Pedro De Mendoza 1929
Buenos Aires
T +5411 4104 1000
www.proa.org
150
J O S E F I N A G U IL ISAST I
A Matter of Perception
Cecilia Brunson Projects
>London / Londres
Artist Josefina Guilisasti (Santiago, Chile, 1963) is always
potentially silent. A solo show of her work is currently
underway at Cecilia Brunson Projects in London.
For over a decade, Guilisastis practice focused on the secular
still life genre and the tricks it plays on the eye. She was
interested not only in observing a largely obsolete tradition
within art history, but also in studying obsolete household
objects. Her work restores the anthropological, historic, and
cultural value of objects that no longer have a voice.
This exhibition features a new body of work originally produced
for the Museo de Artes Decorativas, Santiago, in 2014. For that
earlier show, Guilisasti intervened on the museum space with a
series of silicon renderings of porcelain birds, cups, and jugs from
the museums collection. Entitled Objetos Light, the 2014 show
consisted of fifty-five silicon pieces cast from existing porcelain
objects. The silicon objects in the intervention were placed in
glass display cases alongside the original porcelain pieces in a
visual trick that made it hard to distinguish the works in silicon
from the original pieces used to make the casts. It is thanks to
a video showing the objects falling to the ground that the trick is
uncovered and we understand the use of elastic silicon.
Silicon is used to make very simple objects like kitchen
utensils. In this sense, then, Giulisasti worked with both
classic and contemporary materials. Mass use of silicon to
manufacture objects as varied as breast implants and pastry
molds began after World War II. With the title of the exhibition
Objetos Light, or Light Objectsthe artist sought to emphasize
silicons lightness and elasticity, traits diametrical to porcelain,
the material used in the original objects.
The exhibition in London includes her most recent and
ambitious work, La balsa de la Medusa [The Raft of the
Medusa], a wool and silk tapestry measuring some 326 x
259 cm. In it, a band of laurels surrounds a color print of a
photograph showing the moment in 1939 when Thodore
Gricaults famous The Raft of the Medusa was removed from
the Louvre before the German troops arrived in Paris. The
work harmoniously weaves different time periods together: the
tapestry tradition of craftsmanship and master weavers, the
moment when Gricault painted the canvas, and the moment
when Hitlers invasion of France was perceived. In making this
work, Josefina Guilisasti was aware of the recent looting of
9 0 /. R E V I E W S
F E R NEL L F RAN CO
Cali Clair Obscur
Fondation Cartier
>Paris
On exhibition at the Fondation Cartier pour lArt
Contemporain is the first retrospective of Fernell
Franco (1942-2006), an important, though still little-known,
figure in Latin American photography.
Cali Clair Obscur includes a total of 140 mostly black-andwhite photographs from ten different series produced from
1970 to 1996, as well as a never-before-exhibited work by
artist Oscar Muoz in homage to Franco. The works attest
to Francos early efforts to help establish photography as
a key and independent form of artistic expression as well
as the distinctive portraits of residents of the city of Cali
and of the places they inhabit produced during the artists
mature years.
Fernell Franco began his career as a photojournalist and
later specialized in fashion and advertising photography.
Starting in 1970, he started producing as well intimate
photographs tied to issues of poverty, social inequality, and
the daily violence and contrasts that characterized life in
Cali, the city where he lived and worked most of his life.
R E V I E W S /. 9 1
WIF REDO L AM
Or transcontinental modernity
Centre Georges Pompidou Muse National dArt Moderne.
>Paris
The exhibition Modernits plurielles, which closed at
the beginning of the year, set out to reformulate the
Pompidous collection of modern art through a geographic
lens that went beyond the classic Euro-centrist vision.
As a logical extension of that effort, the museum opened
the first retrospective of the work of artist Wifredo Lam
(Cuba, 1902-1982) last month. As Bernard Blistne, the
director of the museum, explains [with this exhibition] we
9 2 /. R E V I E W S
R E V I E W S /. 9 3
HERN N BAS
Fruits and Flowers
Galerie Perrotin
>Paris
When you walk into the exhibition of work by Hernn Bas (Miami,
1978), you see a nude woman lying languidly on Ensemble
Dune (Dune Assemblage), a piece of furniture by Pierre Paulin
(Paris, 1927Montpellier, 2009), one of the most famous French
designers ever. Its actually a plastic dummy (!) whose image is
reflected and dismantled in the mirror hanging on the adjacent
9 4 /. R E V I E W S
wall. The gaze slides down that erotic (or, perhaps, pornographic)
path toward another naked body: a young man sitting in a leather
and steel F444 armchair. This flesh-and-blood man breathes
slowly, concentrating on anything but the viewers walking by who
do not dare to look at him with the hungry eyes of a voyeur.
That scene is a logical preamble to Hernn Bass exhibition
Fruits and flowers. I will let you wander, but not too far: the path is
blocked by Draft, impenetrable installations by Gianni Motti made
of barbed wire and knives.
This was the first, and unexpected, stop before entering into Bass
most recent work on linen and paper located on the gallerys
second floor. The full meaning of the unforgettable welcome
depends on the euphoric and overwhelming context of FIAC, the
contemporary art fair underway in Paris. What we have in this
exhibition is painting inspired by the story of an aesthete, one also
confined. An antihero who trembles when he hears Flauberts
prose: I seek fresh perfumes, larger flowers, pleasures hitherto
unknown. A presentation in both the literal and figurative sense
that befits Hernn Bass third solo exhibition.
Bass iconography has been inspired by late 19th-century decadent
and symbolist aesthetics in both literature and the visual arts. With
this project, he turns to another classic painting genre for the first
time: the still-life. Most of the scenes depicted are bucolic, showing
harvest seasons and the recreation they bring. Almost all the works
titles have double meaning, many in reference to homosexuality.
The Unlikely Winner shows a young boy in a pie eating contest.
The work makes reference to a fair game typical of rural
America. But there are no people around the alleged protagonist.
The atmosphere is not as light as might be expected. Time
seems suspended. The setting is an abstract composition.
The boy stares out into the distance. Our minds smothered by
the image of how much food the boy has gulped down, we are
immersed in the table covered with pies in the foreground.
The work undeniably partakes of allegorygluttony so similar
to sexual appetite. Private Bouquets is a series of flower
arrangements, all of them partly hidden behind Venetian blinds.
What is evoked here is the vanitas genre, a metaphor for the
voyeurism operative in the exhibitions very sensual portraits.
R E V I E W S /. 9 5
C A R LO S M OT TA
Deseos
Galerie Mor Charpentier.
>Paris
There is nothing to see in here! proclaims, with a dose of
enthusiastic humor, gallerist Alex Mor upon walking into the
exhibition of work by Carlos Motta (Bogot, 1978). Indeed,
the room does seem empty, except for the miniature circular
objects embedded in the walls. To see them, the viewer has to
come close, lean over slightly, and look through a magnifying
glass. It is then that historical images of homosexual scenes
male and female, some of them beastly, others taken from
the Bibleor images of characters from Roman mythology
engaged in sex acts appear.
The installation of twenty miniature drawings eloquently
entitled Puissance et jouissance [Power and Pleasure] shows
viewers how certain desires were constructed as unnatural
and, consequently, considered marginal or rendered invisible.
The title makes reference to the cartoon made for the Rapport
contre la normalit [Report against Normalcy] published by
the Front Homosexuel dAction Rvolutionnaire (FHAR), a
nonpartisan Parisian movement founded in 1971 credited with
making the gay and lesbian movement of the time visible.
A multimedia artist, Carlos Motta is a true researcher. He
studies and documents the social conditions and political
struggles of sexual and gender minority communities in order
to question dominant discourses and norms. He could be
considered an archivist of repressed histories and forgotten
narratives.
Further in the exhibition, the viewer hears voices coming
from the basement: Deseos [Desires] is a video that narrates
the parallel stories of two womenMartina from Bogot
and Nour born in Beirutin the 19th century. The imaginary
correspondence between two women who had lesbian
relationships reveals the barriers they had to overcometrial
in a court of law and the reaction of their respective families
simply for expressing the love they felt for a person of the
same sex.
This first solo exhibition of the Colombian artist explores
the historical representations of what is considered
unconventional sexual desire, which most deem indecent,
as well as the institutional mechanisms that produced them.
Although located in a fairly precise historical moment, the
debate this exhibition formulates continuesunfortunately
to be cause for heated dispute.
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LU IS R O M ER O
Borderline
Alejandra Von Hartz Gallery
>Miami
Luis Romero (Caracas, 1967) is a member of the generation
of Venezuelan artists who began their careers in the
nineties, an exciting period on the local art scene. In
addition to making art, Romero has worked, from early
on, as an art editor and curator. In the 2000s, he founded
Oficina #1, an exhibition space for contemporary art he
has directed ever since. His current work, on exhibit from
September 10 to November 15 in Borderline, his first solo
exhibition in Miami, forms part of his recent research in
the field of abstraction. He proposes an alternative means
of reflection and discursive construction of both nostalgic
visions of Venezuelan modernism and the criticism of those
visions short and polemic scope.
The extensive body of work in the show is made up of
D.R.O., a collection of seven rubber sheets with circular
holes of different sizes; Independent/Dependent, a series of
monotypes composed by the relationship between either
trapeziums or trapezoids. The work No todo lo que brilla
es oro [All that Glitters Is Not Gold], a volume made up of
three rectangular pieces, each with four laminated steel
triangles in relief and two of them coated in gold leaf;
Lego-Ego, a sort of cardboard spiral printed in lithographic
ink; Ejes [Axes], a grid structure with twelve empty squares
made of painted aluminum shafts; Parcial [Partial], a
collection of seven paper collages in which geometric
shapes in relief relate to a stain painted on the surface-
R E V I E W S /. 9 7
base from which they rise; T&Yo [You and I], two piles of
printed pages, some with a red line and others with a blue
one, of different heights and structure; 1967-2014, a rubber
cutout where the first date is superimposed on the second;
and a long series of woodcuts entitled Suite Sustancial, in
which different shapes decompose and re-combine against
a color paper background.
An overview of this varied exhibition might make us
think that Luis Romero is primarily interested in putting
together a sort of inventory of the constructive resources of
geometric abstraction in order to discover new discursive
possibilities. Some of the works, though, reveal an
interest in the personal and the autobiographical. From
this perspective, Romeros work constitutes a place
where a personal narrative and the social and cultural
history of Venezuelaa country in which geometric
abstraction played an important role in the discourse of
modernizationbecome connected and, on occasion, even
converge in the search for meaning.
MU U B L AN CO
NCTx13 Sample, Photographs & Music
ArtMedia Gallery
>Miami
Critique of representation as poetic strategy has always
been a pillar of postmodern aesthetics. The satirical
appropriation of fragments of works from the history
of art past and present in an attempt to re-formulate
their meaning, then, is the most common Trojan
horse deployed to blow up the aesthetic categories
of modernism. The contents and conceptual limits of
categories like the author, the original, and the work of
art have been eroded to make way for a slippery relativism
in artistic discourses.
The exhibition NCTx13 Sample of work by Muu Blanco
(Caracas, 1966) is a clear example of the activation of
those mechanisms of postmodern poetics. In putting
together this exhibition, Blanco looked to the book
Retromundo [Retroworld] published in Caracas in 1986a
kind of photographic essay on contemporary society and
culture by Paolo Gasparini. The socio-cultural comments
Gasparini articulates in his photographs help Blanco
to reflect on the status of the image and its symbolic
complexity as support of communication in contemporary
culture.
9 8 /. R E V I E W S
Muu Blanco. NCT-M, from the series NCT x 13 Samples, 2015. Intervention on
Paolo Gasparinis book Retromundo [Retroworld], 1986 /
Muu Blanco. NCT-M, de la serie NCT x 13 muestras, 2015. Intervencin en el
libro de Paolo Gasparini Retromundo, 1986
JES S SOTO
Esttico/Dinmico
Galera Ascaso
>Caracas
On the occasion of the tenth anniversary of the passing of master
artist Jesus Soto (1923-2005), the Fundacin Soto, under the
curatorship of Isabelle Soto, the artists daughter and the director of
Taller Soto, and Toms Mussett, organized the exhibition Estticodinmico at Galera Ascaso in Caracas. It is truly remarkable that an
artist without a high school education was able to produce such a
deep body of work, one steeped in the concerns of art, mathematics,
and musical harmony.
Soto had little time to develop his art. Though for almost a decade
he struggled to get by, playing guitar in public places, he never gave
up. He understood that developing a body of work required study and
experimentation, which he first undertook in serial works. One must
truly grasp this basic process to fully understand his work as a whole.
Soto began making connections between art and mathematics,
which led him to undertake studies on arithmetic progressions
closely tied to music since many composers adopt them to
generate rhythm. Soto noticed that the intersection of the vertical
and horizontal lines in Mondrian produced a vibration that makes
Con ese motivo de los diez aos del fallecimiento del maestro
Jesus Soto (1923-2005) la Fundacin Soto, con la curadura de
la hija del artista y el Jefe del Taller Soto, Isabelle Soto y Toms
Mussett, respectivamente, organizaron la exposicin Estticodinmico, en los espacios de la Galera Ascaso, en Caracas. Es
realmente impresionante como un artista que no pas de los
estudios primarios pudo lograr una obra de tanta profundidad y
con tantos elementos ligados a la plstica, las matemticas y la
armona musical.
Soto tena poco tiempo para desarrollar su obra plstica. Tuvo
que sobrevivir durante casi una dcada, tocando guitarra en
sitios pblicos. Pero eso nunca lo hizo desfallecer. Entenda que
para desarrollar un trabajo tena que estudiar y hacer muchas
pruebas. Y las inicia haciendo unas piezas seriadas. Entender, a
cabalidad este proceso primario, es fundamental para captar todo
el desarrollo de la obra.
Soto empieza a hacer relaciones entre el arte y las matemticas
y se decanta por empezar su estudio, con las progresiones
R E V I E W S /. 9 9
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JO R G E M ACCH I EN N C- ART E
Lampo
NC arte
>Colombia
Since it opened five years ago, the Bogot-based gallery
NC-arte has developed a much needed and pertinent
program of exhibitions by artists from Colombian and abroad.
Rafael Lozano-Hemmer, Carlos Garaicoa, Juan Fernando
Herrn, Troika are among the artists and collectives that
have undertaken powerful appropriations of a space whose
dimensions make it possible to produce works uncommon
on the local scene. Indeed, since its launching, NC-arte
has invited artists to challenge its generous space in the La
Macarena section of the city. In October, Argentine artist
Jorge Macchi (Buenos Aires, 1963) produced a study of
shadow for a show curated by Mara Lovinothe greatest
connoisseur of Macchis work in Colombiathat he called,
simply, Lampo.
Lets start with that title: Lampo. The word names the
particular interpretation of light, space, and materiality that
Macchi put to the test in the venue in downtown Bogot. A
little-used word that refers to a very intense and fleeting light.
Over the course of a yearand not living in ColombiaMachi
worked on a show that consisted of a central piece, Gloria: an
ambitious wooden construction that occupied the gallerys
main hall and stairway at the entrance. The work attempted
to simulate or to delimit the course nonexistent projections
of lights might take. Using wooden slates to mark the path of
the imaginary light, those hypothetical vectors grew denser
with an also imaginary increase in the lighting in hard-tosee sectors of the gallery: it took some effort to discern the
artists intentions.
Macchi was interested in, among other things, distancing
himself from viewers memories of sensations they might
have experienced at earlier exhibitions: at the beginning of the
year, a sophisticated show of work by Rafael Lozano Hemmer
largely based on digital supports; later, a powerful installation
by the Troika collective that consisted of flooding the large
gallery space. Evidently, this context contributed to the
decision to make Lampo a show inclined to the minimal.
Lampo was a pause and change in pace in the programming
of NC-arte, as well as the first major show by Macchi in
Bogot, after the brilliant exhibitions of fellow Argentine
artists Victor Grippo and Graciela Sacco held at the Museo de
Arte del Banco de la Repblica in 2015.
En sus cinco aos de existencia y con sede en Bogot, NCarte ha desarrollado un necesario y relevante programa de
exposiciones con artistas nacionales e internacionales. Rafael
Lozano-Hemmer, Carlos Garaicoa, Juan Fernando Herrn,
Troika entre otros, han realizado poderosas apropiaciones de
un ambicioso espacio que permite gracias a sus dimensiones,
la realizacin de obras poco comunes en esta ciudad. Y es que
precisamente, desde sus inicios NC-arte ha invitado a los
artistas a desafiar el espacio de su amplia sede, situada en el
barrio La Macarena. En octubre pasado, el artista argentino
Jorge Macchi (Buenos Aires, 1963) realiz all un particular
estudio de la sombra en una muestra que titul llanamente
Lampo, curada por Mara Lovino, la mayor conocedora de la obra
de ste artista en Colombia.
Iniciemos por el ttulo: Lampo. Esta palabra designar, la
particular interpretacin de la luz, el espacio y la materialidad
que Macchi puso a prueba en la cntrica sala bogotana. Es una
palabra, que valga la pena decirlo, es poco usada y designa
una luz muy fuerte y fugaz. Durante un ao, y no viviendo en
Colombia, Macchi prepar una muestra donde enseaba una
pieza central, Gloria. Una ambiciosa construccin de estructuras
de madera, que se tomaba la nave central y la escalera de
ascenso intentando simular o demarcar, los posibles recorridos
de proyeccin de focos de luz inexistentes. Utilizando los
listones de madera para marcar los trayectos de luz imaginaria,
la accin de estos supuestos vectores, se densificaban segn
un tambin imaginario aumento lumnico por sectores, no
fcilmente perceptible, y se necesitaba algo de esfuerzo para
entender las intenciones del artista.
A Macchi tambin le interesaba distanciarse con los recuerdos
y sensaciones del espectador frente a exposiciones anteriores
a inicios de ao se haba presentado una sofisticada muestra
fuertemente basada en soportes digitales de Rafael Lozano
Hemmer y posteriormente se llev a cabo una poderosa
instalacin del colectivo Troika inundando con agua el amplio
espacio- lo que tambin evidentemente contribua a que Lampo,
fuera una muestra que tendiera a lo mnimo.
Lampo en conjunto, constitua un momento de pausa y cambio
de ritmo en la programacin de NC-arte a la vez, que marcaba la
primera gran aparicin de Macchi en Bogot, complementando
las brillantes muestras de otros artistas argentinos, Victor
Grippo y Graciela Sacco que tuvieron lugar en el 2015 en el
Museo de Arte del Banco de la Repblica en la ciudad.
Santiago Rueda
R E V I E W S /. 1 0 1
G UA DALU P E VAL DS
Vencer el olvido
Galera Isabel Aninat
>Chile
Galera Isabel Aninat was the site of the return of
Guadalupe Valds (Santiago, 1979) to the local scene,
leaving no doubt about the creative vitality she has
developed in recent years.
For the last ten years, Valds lived in Germany and the
United States, where she established the parameters of
the current artistic research evident in this show.
The exhibitions twenty-five canvases in various formats
formulate an original revision of the history of painting.
Guadalupe Valds explored flea markets in several cities
and salvaged paintings rejected by connoisseurs, mostly
works by weekend painters that depict hackneyed themes
like sea scenes and landscapes.
On this work, Chilean critic Carlos Navarrete writes:
Found canvases that, partly recycled, turn into a
summation of times, stories, and broken memories tied
together only by the gesture of the brush depositing on
the pictorial surface an impasto in furious tones like a
suture designed to reconcile times and memories that
eagerly try to recover the vestiges of personal memory.
The artists reminiscences are alliances she puts together
on the basis of other artists signatures that, when joined,
turn into a vision of art that surprises and captivates us,
engaging collage in a creative game with reality.
Past and present come together in the cutting and pasting
of these works, giving rise to a new reality. As the artist
explains, these works explore memories and fragments
of my own canvases and canvases by others brought
together in order to reconcile different timesa present
that, when united to the past, blossoms and opens up to
the future.
With this work, Guadalupe Valds hopes to once again find
a place for herself in her countrys history. And she does
so by looking toand making her ownthe creation of
others without hiding their origin, meddling in Chilean and
Latin American art from a fresh and original perspective.
1 0 2 /. R E V I E W S
R E V I E W S /. 1 0 3
P REZ CEL IS
Testimonio americano
Museo Nacional de Bellas Artes
>Buenos Aires
As Cristina Rossi, curator of the exhibition Prez Celis,
testimonio americano on exhibit at the Museo Nacional de
Bellas Artes points out at the beginning of her text, Prez
Celis (Buenos Aires 1939-2008) was a tireless traveler.
And, judging from the intersections of form, theme,
and color in his works, he appears to have been equally
tireless in his artistic journeys.
The design of this exhibition prioritizes his almost fiftyyear search for the specificity of the Americas, a journey
that took him to Montevideo, Lima, Caracas, Paris, New
York, Miami, and different regions of Argentina. As Rossi
points out, [] thanks to his sensitivity, he was able to
interpret each one of these settings and from all of them
he took away an emblematic sign. The gesture, material,
and color he used at each stage expressed his tie to the
concept of the Americas and his commitment to debates
on this topic.
Thus, he supported the idea of the New Mana movement
started in the sixties by critic Rafael Squirruthat
proposed innovation and rejected tradition in order to
pursue a new man rooted in the Americas.
The exhibition is structured around six moments, each
with works produced during different periods, places and
different techniques, though painting predominates. While
the exhibition prioritizes the artists abstract work, the
curator states, significantly, that a simple circle could
symbolize a sun god in the Inca pantheon, represent the
Sun in the skies of the Pampas, or turn into a perfect
sphere to settle the gaze of Americas eye.
The exhibition begins with paintings from the sixties tied
to Victor Vasarely and the geometric tradition, which
1 0 4 /. R E V I E W S
F E D E RICO CO L L ET TA
El desmoronamiento de la corteza terrestre
Centro Cultural Recoleta
>Buenos Aires
EI cannot imagine any approach to Federico Collettas
current work that is not tied to the landscape or natural
surroundings of Los Cardales, the town on the outskirts of
Buenos Aires where he lives and works: that specific setting
is, arguably, what has given meaning to the body of work he
began producing in late 2010 and 2011. These new works
question his previous pictorial practice as they delve into the
metaphorical implications of a type of production linked to
process, on the one hand, and to the logic of nature, on the
other. This was how the artist began burying his canvases
R E V I E W S /. 1 0 5
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CO L ECCI N T EDESCO
Diagonal Sur - Arte argentino hoy
Centro Cultural Borges
>Buenos Aires
With almost four hundred works from the Esteban
Tedesco collection, Diagonal Sur - Arte Argentino Hoy
occupies all the galleries of the Centro Cultural Borges.
A milestone in the history of contemporary art collecting,
the show makes visible art produced over the course of
the last thirty years.
Tedesco has come to fill a void. To put it simply, no
Argentine institution has exhibited work from the
entire period encompassed by his collection. Though
contemporary artists draw thousands of visitors to art
fairs and galleries and are the choice of buyers, no
institution in Argentina has provided them with the space
they deserve. The first museum of contemporary art in
Argentina was founded in the city of Rosario in 2004;
while it owns some 783 work, its entire collection is not
on exhibit. The Tedesco collection, meanwhile, consists of
over 1,200 works, or twice as many as Malba (though, of
course, the time period encompassed and net worth of the
Malba collection are greater).
A visit to the show quickly evidences the museum quality
of the selection, as well as the appeal of works that few
have seen. In that sense, the curatorial intervention of
French art theorist Philippe Cyroulnik, director of the
Centre rgional dart contemporain in Montbliard,
France, was crucial. Since 1989, when he visited Argentina
1 0 8 /. R E V I E W S
R E V I E W S /. 1 0 9
K E N M ATSU BAR A
Repeticiones
Galera del Paseo
>Punta del Este
Defying expectation, Galera del Paseo brought to the regionin
the midst of the South American summer seasonthe provocative
work of Japanese artist Ken Matsubara (Tokyo, 1949), as well as
the artist himself, who attended the opening. The exhibition venue
is located on one of the magnificent beaches of the Manantiales
section of Punta del Este and, as soon as the artist arrived, he
showed his hosts a video of the crowded place where he lives in
Tokyo, a noisy district full of billboards and cars. Unaccustomed
to so much silence, he told his hosts he was not sure he would be
able to sleep (in the end, though, he managed to get some rest).
1 1 0 /. R E V I E W S
G O L DWASSER - U R IB E
El sistema de los otros
Galera del Paseo
>Punta del Este
The exhibitions by experienced artists Gerardo Goldwasser
and Pablo Uribe held at Galera del Paseo evidence a shared
sensibility and a similar placid atmosphere. By different
means, the two shows by artists of the same generation
look to ancestral traces and give rise to a multiplicity of
meanings.
Early on, Gerardo Goldwasser (Montevideo, 1961) began
making use of attributes associated with a tailors trade
in his emotional and sparse works. His pieces are a silent
recollection of his grandfather and what he went through at
a Nazi concentration camp during World War II (he managed
to survive thanks to his trade). The artists father and uncle
were tailors as well, and the artist transformed the forms
and materials typical of that trade into poetic works of
art. The ink lines, marks on paper mosaics, and folded
fabrics are reminiscent of basic patterns and the artisanal
production of garments; like the digital prints, the incisions
and lines on patterns and objects give shape to a map of
a collective family story perhaps too dramatic to ever be
sutured.
In Croma, Pablo Uribe (Montevideo, 1962) makes reference
to the memory of Uruguayan painting. This project, like the
artists earlier work Luna con dormilones [Moon with Sleepy
Heads], appropriates the work of Uruguayan artists Jos
Pedro Costigliolo, Torres-Garca, Jos Cneo, Miguel ngel
Pareja, and Petrona Vierain, but now Uribe also disintegrates
those artists paintings . He eliminates the figurative
images and removes the colors, bringing to light abstract
compositions, generating unforeseen scales and intimate
geometries. With a degree of irony, the artist points out that
replacing landscapes and characters with color palettes is
ultimately a useless attempt to systematize, inventory, and
catalogue color in Uruguayan painting. His unique prints
and delicate books suggest a system of thought, distinguish
rhythms, and highlight tones.
R E V I E W S /. 1 1 1