Henrique Faria Fine Art is pleased to present, starting February 7, Osvaldo Romberg’s exhibition The Color Factor 1973-2013, Homage to Josef Albers and Raúl Lozza, an exhibition reuniting his works from the last 40 years.
Osvaldo Romberg (Argentina, 1938) is one of the most important conceptual artists from Latin America. Art historian and curator Rodrigo Alonso describes Romberg’s significance in his exhibition essay “Orders, Expansions, Interactions”:
A good portion of Osvaldo Romberg’s body of work centers on the analysis and dismantling of the systems of pictorial construction developed between the Renaissance and the avant-gardes. His work explicitly reveals the structural scaffolding (material, perceptual and cultural) on which our aesthetic appreciation rests. Nevertheless, Romberg feels a particular pull toward those methodical artists who have erected veritable formal orders, following rigorous lines of work, such as Mondrian, Malevich, or Albers.
His work, far from demystifying these masters, clearly reveals the potentiality of the plastic orders in all their dimensions. Romberg expands that potentiality to the point of placing it in dialogue with other disciplines, such as architecture, literature, and music. His installation The Hanover Color Constellation, 82-83, is a good example. In it, the colors of the color spectrum are spread over the viewing space following a strictly established formal logic: to each point in space there corresponds a tonality as an objective datum, a truth about color. Here, once more, this ceases to be a mere given of reality and reveals itself to be an element capable of modeling spaces, rhythms, and concepts; connecting art, the present, cultural heritage, and life.
In the early 1970s, Argentinean conceptual artist Osvaldo Romberg began using a grid to analyze the tone and saturation of various colors. His thorough taxonomies are vibrant, rainbow-like compositions whose optical effects exceed and deform the empirical structure of the grid with their uneven strokes of paint. Romberg’s deconstruction of both individual hues and those of famous historical paintings investigate the political and social conventions of looking and seeing. The works on paper from this period are infused with Romberg’s interest in art history, philosophy, linguistics, and informational systems.
Romberg also has an extensive career as curator and is Senior Curator at the Slought Foundation in Philadelphia. He is also a professor at the Ben-Gurion University of the Negev in Israel, where he a founded a center for experimental cinema, video and media art.
He has exhibited widely as an artist at institutions including the Kunsthistorisches Museum, Vienna; Kunstmuseum, Bonn; Ludwig Museum, Cologne; Sudo Museum, Tokyo; The Israel Museum, Jerusalem; The Jewish Museum, New York; the XLI Venice Biennial, Israel Pavilion; The Philadelphia Museum of Art; the Museum of Modern Art, Buenos Aires; and the Van Abbemuseum, Eindhoven.
Henrique Faria Fine Art is pleased to present Body: Air, Water and Earth, the first New York exhibition of Yeni and Nan. Opening March 29, the show will highlight the artist duo’s most emblematic pieces. The works include photographs, video art and the groundbreaking action-based art for which they are best known.
Yeni and Nan worked together between 1977 and 1986. They were part of an important movement in Venezuela in which artists used the human body as the main subject and instrument for artistic expression with photography and performances, and included artists such as Antonieta Sosa, Claudio Perna and Pedro Terán.
The show includes Yeni and Nan’s first works from 1977: Polaroids from the series Cuerpo y línea (Body and Line) in which they positioned their bodies as marks in space, focusing on mapping and the body as cartography, which advanced their later shift towards land art. This would materialize in their 1984-1986 series Simbolismo de la Cristalización (Crystallization Symbolism) and Hombre y Sal (Man and Salt), both taking place in Araya, an inhospitable Venezuelan salt lake.
Their body of work is also characterized by a continued investigation of nature’s basic elements. Starting with Autológica del agua / Autológica del aire (Autology of Water/ Autology of Air) from 1980, to Integraciones en agua (Integrations in Water) from 1981 and 1982, and finally Transfiguración Elemento Tierra (Earth Element Transfiguration) from 1983, their pieces explored the essential attributes of Air, Water and Earth. The artists' living bodies took on the role of Fire, thereby representing all of nature's cardinal elements.
These somatic works were not simply experimentation on materiality and art boundaries but were also - as María Elena Ramos explains in the catalogue text -metaphors and metonyms of the fragility of humankind.
Jennifer Hackshaw and María Luisa González (Caracas, 1948 and 1956) first met at the Cristóbal Rojas art school in Caracas during the 1970s. In 1977, they started to work together as Yeni & Nan, moved to London, England in order to study art, and later moved to Cannes, France to study photography. The pair returned to Caracas in 1979 to study film. Yeni and Nan worked together from 1977 to 1986 when they decided to separate in order to pursue individual art careers. While working together, they participated in numerous acclaimed exhibitions, including “20 Contemporary Venezuelan Artists” at the CAYC Buenos Aires, Argentina (1979); the Salon Arturo Michelena in Valencia, Venezuela (1979); various performances at the National Art Gallery of Caracas (1979, 1980, 1982, 1983); the Sao Paulo Biennial (1981); “Colloquium on Non-objective Art” at the Museum of Modern Art, Medellín, Venezuela (1981); and the “Biennial of Young Artists of Paris” at the Museum of Modern Art, Paris, France (1982). At the third National Salon of Young Artists in 1985, the duo won first prize. Yeni Hackshaw now lives and works in Salamanca, Spain, while Nan González has remained in Caracas, where she still works. Each artist has continued to develop their own artistic style and creative practice.
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Henrique Faria Fine Art is pleased to present Mechanical Ventilation, Luis Roldán’s second gallery exhibition and his third in New York City. Opening May 9, the show will highlight the artist’s most recent pieces in conversation with emblematic 1950s works on paper by Brazilian artist Willys de Castro. As the latter stands as a central figure of neoconcretism, the former works by exploring and reanimating the modernist inquiry on abstraction and color in a contemporary context. Roldán necessarily shows how this synthetic reinvigoration of form creates an entirely different experience, which involves the viewer’s senses and infuses the gallery space with a new energy, but still exposes its art historical roots.
De Castro, involved with cinema, music, literature and theater from a young age, began to focus solely on the visual arts in 1957, but still allowed his previous interests to influence and shape his new direction of work. Looking at the planar nature of the canvas, he examined the constructive possibilities of color and shape. Cartaz-poema (1959) represents the pervading presence of poetry in the interactions and placement of words on paper, demonstrative of de Castro’s involvement with the newly formed Neoconcrete group in Rio de Janeiro. It also points to his sense of creative innovation as seen in his earlier, groundbreaking studies and designs for paintings, such as Estudos para pintura (1957-58) and Projecto para pintura 167 (1956), which broadened the frontiers of color fields and figural boundaries, and even the sense of two-dimensionality.
The freedom encountered in poetry is also felt in the work of Roldán, as he liberates his materials from their own physical confinement then endows them with personified characteristics, and as he relies on the spirit of chance to continually form and reform his pieces. Yet, it is the rigor of the machine that both ties Roldán to modernist paradigms and also provides a structure for, as curator Juan Ledezma writes, “the mediation of historical templates [through which] the artist re-instills sense into experience.” Cantos (2008), a constellation of strips of fabric, subjected to both emulsion and inking processes, are hung at random across the gallery wall and swing softly in the breeze created by the viewer’s approach and departure, maintaining an equilibrium with its environment. Numerales (2013) also strikes a balance between found objects and their ultimate placement within the work itself, between the readymade and the artist’s hand, between initial function and reincarnation.
It is this transformative hybridization, of not just objects, but also of artistic methodologies, space and time, that characterize the work of both Roldán and de Castro, binding them together. Mechanical Ventilation, too, is a hybridization of life itself, alluding to the possibility of the natural and highly individual act of breathing being enhanced by external means. Thus, seen side by side, the art of Roldán and de Castro are given the opportunity to interact, and thereby give one another new life.
Luis Roldán (Colombia - 1955) studied Art History at the École du Louvre (Paris), and Architecture at Pontificia Universidad Javeriana (Bogotá, Colombia). He has exhibited extensively in Colombia and the United States and was part of the Latin American Pavilion in the 2009 Venice Biennale. He has won numerous awards such as the Luis Caballero Award (Bogotá) and the National Award in Visual Arts (Colombia). He lives and works both in New York City and Bogotá. His work is included in important collections such as Colección Patricia Phelps de Cisneros, Museo del Barrio and Deutsche Bank Collection, New York; FEMSA Collection, Monterrey; Cisneros Fontanals Art Foundation, Miami and the Museums of Modern Art in Buenos Aires, Bogotá and Medellín.
Willys de Castro (Uberlândia, Minas Gerais, 1926 - São Paulo, 1988). Painter, engraver, draughtsman, scenographer, costume designer and graphic artist. In 1950, he began an apprenticeship in graphic arts, executing his first abstract-geometric paintings and drawings. In 1958, he went to study in Europe, and in the following year back Brazil, joined the Grupo Neoconcreto [Neoconcretist Group] in Rio de Janeiro. Between 1959 and 1962, he worked on the Objetos Ativos [Active Objects] series, which explore plane and volume as plastic elements, questioning the use of the canvas as a support for pictorial language. His work is included in important collections such as Instituto da Arte Contemporanea, Pinacoteca do Estado de São Paulo, and Museo de Arte de São Paulo, Sao Paulo; The Museum of Modern Art and Colección Patricia Phelps de Cisneros, New York.
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Between Modernist Construction and Contemporary Assemblage. Juan Ledezma
Round bundles of lint lie on a low-rise table. They are analogs of the artist’s body, excised through the mechanical fanning of air upon his clothes. Tumble-dried, the remnants of the artist’s worn presence have been randomly arranged across a grid of white squares. Thereby Luis Roldán, whose everyday life is inscribed in the work under the mode of a precarious autobiography—the minor narrative of his private experience—tumbles and recycles a roll of modernist references: the grid and involuntary sculpture, for instance; or, closer to neo-avant-garde pursuits, the flatbed as the support of chance encounters. Yet it is mainly the machine, that other paradigm of now dysfunctional modernist drives, which provides Roldán with a tool for mapping quotidian space against the grain of historical referents. “Mechanical Ventilation,” the title of the exhibition that brings together his most recent works, alludes to the fact that foregone formal models cannot be breathed back to life—redeemed, say—without contrivance. Artificial rehabilitation is nonetheless required, a survival strategy: it is through the mediation of historical templates that the artist reinstills sense into experience—emphatically personal, yet endowed with a public resonance—within the at once exhausted and cluttered space of contemporary life.
Here the mediation in question involves revisiting the work of Willys de Castro, the Brazilian modernist. In the 1950s, De Castro reconstructed perception itself through a series of “objects”—hybrids, actually, between painting and sculpture—which demand the viewer to combine their frontal and lateral planes into a fragmented, plural unity. Thereby, De Castro segmented the apprehension of his works and distended it in time. This he did also through a recursive use of modules, disconnected geometric shapes that appear on the verge of locking into a form while dismantling it. As is painting, so is poetry: De Castro’s (neo)concrete poems treat words as modular units, extricated from the linear succession of the verse and spaced out across the page. In this case, it is the construction of sense—the closure of poetic form—that is suspended, as the disconnection between the poem’s verbal blocks fragment and distend the act of reading. Roldán, too, resorts to the module when making his works. Yet with De Castro it was a question of modularity and construction; with Roldán, quite on the contrary, the question revolves around modularity and assemblage. Rather than activating or reconstructing fragmented formal wholes— conforming, then, to the modernist prefiguration of subjects engaged in the production of their lived space—the viewers of Roldán’s works confront precarious artifacts which no longer presume a collective engagement with the technical reorganization of life. Yet mechanical ventilation, the overriding trope of this exhibition, still invokes a technical mode of perception. It is, however, a different modality of technique that informs these assemblages: the operative incapacity of technology, however developed it might now be, for structuring a “cognitive map” that could orient contemporary subjects in collective space.1 As that space is saturated by digital clutter—the current surfeit of information that piles up as so much noise—the artist retreats into a private territory of objects marked by the analogical, indexical traces of individual experience. There entrenched, Roldán’s works declare themselves “unmonumental”—the bearers of a minimal, insistently personal materiality.2
Forged in different time periods, the projects are programmatically different. Yet it is their historical distance that links them. For Roldán’s assembled works stretch back to the modernist’s constructions to perform a labor, one might say, of negative redemption. The assemblages redeem a modular and mechanical logic from De Castro’s “active objects,” only to divert it in the formation of disjointed, when not dysfunctional structures. This is most evident in a series of drawings that bear the diluted writing of a story through which Roldán fictionalizes his everyday experience. The narrative’s legibility is further blocked by the stenciled diagrams of mechanical ventilation’s “flow patterns”—diagrams which the artist obtained from scientific journals and uses in these works as recurrent modules. These graphs section the flow of the narrator’s voice across the plane. They also underscore the fact that such a voice only issues forth under erasure, as if afflicted by a shortness of breath. Effaced and modular, Roldán’s narrative gives itself over to time, pause, and silence: the three components that, according to Ferreira Gular, modulate the spread of the page in neoconcrete poetry and open it up to the space of “duration.”3 Such a space, however, is no longer an open field in which either the viewer or reader would forge constructive connections between the work and other registers of reality, in an ongoing production of sense. The connections are still to be made, and sense produced, yet now precariously, under the mode of assemblage. Within the exhausted space of contemporary life, Roldán’s works call for a time to pause.
1 Cf. Fredric Jameson, “Cognitive Mapping,” in Cary Nelson and Lawrence Grossberg, ed., Marxism and the Interpretation of Culture (Urbana: University of Illinois Press, 1988), 347–357.
2 The term is discussed in the curatorial text of an eponymous exhibition: Laura Hoptman, “Unmonumental: Going to Pieces in the 21st Century,” in Unmonumental. The Object in the 21st Century (New York and London: Phaidon Press Limited, 2007), 128–138.
3 Ferreira Gular. “Manifiesto neoconcreto” (1959), in América Fría. La abstracción geométrica en Latinoamérica (1934–1973) (Madrid: Fundación Juan March, 2011).
Henrique Faria Fine Art is delighted to present A Laboratory of Cynical Perception, Oswaldo Maciá’s second exhibition in New York City. Opening on September 13, the show will feature a selection of recent works on paper as well as aural-olfactory installations. Maciá presents the viewer with immersive experiences that engage the mind and senses, demonstrating the artist’s interest in systems of perception and knowledge. His holistic approach is a visceral one: being that smell and sound exist outside of language, it is the body, rather than the intellect, that must mediate the situation. This process thus adds a personal and redolent element to the multiple and overlapping layers of scents and noises pervading the gallery space.
To describe this inclusive, sensorial thinking, what Jim Drobnik considers “cynical perception”, he writes in the exhibition catalogue, “First, cynical perception compels a keen attentiveness to materials and sensations, thus avoiding pre-established perceptions. Second, it entails a reflexive approach to what is being sensed and how it is being sensed, that is, it questions the normative exercise of the senses. And third, it proposes generative action towards language and knowledge in order to produce new ways to speak about and understand the world.”
The reference to the Cynics, an ancient Greek philosophical school which taught that achieving mental clarity and living in harmonious agreement with nature was one’s life purpose, runs deeply through Maciá’s work. In his sculpture Cynic, he features the scents of amber, cypriol, civet, saffron and cumin, among other ingredients thought by the Cynics to have special cerebral properties. As the fragrance bubbles forth from a thick, black liquid, it melds with the sounds of mating and death calls from animals on the brink of extinction. A cloud of carbon fiber tape hovers overhead, representing the interference of sound waves and molecules of scent, the circular nature of life and death, the coming together of disparate materials in the making of art.
Maciá’s installations intend to subvert the dominance of the visual yet also conjure the visual as certain memories and associations are evoked. The works on paper, such as Electricity and Sound and Smell Composition, serve as portrayals of the process of thinking, of the synthesis of information. The intersecting that takes place, the depth of the various layers, and the new compositions that are formed, are the results of the acquisition of new experiences and understandings and their adjustment into the artist’s/viewer’s life. The Cynics believed that eudaimonia, human flourishing, was dependent on the continual pursuit of knowledge and the clearing of one’s mind from the darkness that clouds insight and discernment. In A Laboratory of Cynical Perception, Maciá truly creates just that: an environment where experimentation with new methods of approaching and interacting with the world is fostered. In this way, the development of sensorial awareness and the interconnection between various types of knowledge continues beyond the “laboratory” walls, further opening up the individual to the mystery, the exploration of life.
Oswaldo Maciá, (b. 1960, Cartagena, Colombia) lives and works in London.
Maciá describes his approach to art making in the following statement: “In my work I seek to question assumptions about knowledge and perception. The ways in which we attempt to understand our place in the world is structured through conventions and expectations that often overwhelm our own direct perception of what surrounds us. I am particularly concerned with how external stimuli we receive from the world are translated into images and information through our senses, often mediated by what-we-think-we-know. Throughout my sound-sculptures, smell-sculptures, videos, installations and scenarios I aim to create encounters that initiate and reflect upon multiple relationships with what-is-believed-to-be-reality. My work sets out to complicate experiences that we know, offering proposals to look harder, listen more acutely, and pay attention to the senses in order to think deeper about the structures of knowledge we rely on to construct that which is taken for knowledge.”
Maciá received his BA degrees from the School of Fine Art, Cartagena De Indias, Colombia, (Fine Art), Llotja School, Barcelona, (Mural Painting) and Guild Hall University of London, (Sculpture), followed by a Masters in Fine Arts from Goldsmiths' College, University of London in England.
His works have been shown in exhibitions such as Manifesta 9, Genk, Belgium (2012); Kunsthal KAdE, Amersfoort, Netherlands (2012); XI Bienal de Cuenca, Ecuador (2011) where he was awarded the annual prize; a solo presentation at Museo de Arte Moderno Medellin (2011); 8va Bienal do Mercosul, Porto Alegre, \ (2011), XVIII Rohkunstbau, Macht, Schloss Marquardt Potsdam, Germany; Digital Art Center, Taipei, New Narrative, Taiwan (2011); Espaivisor, Valencia Spain 2010; Bienal Pontevedra Utropias, Pontevedra Spain (2010); Fundación Banco Santander, Madrid (2010); as well as Liverpool Biennale, the 51st Venice Biennial, the Shanghai Biennale, the VIII Bienal de La Habana, Thessaloniki Biennale, the Museo Nacional Centro de Arte Reina Sofia and the Whitechapel Gallery (2009).
Maciá's works are in a number of international collections, including Tate Modern and Daros Latin America.
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Henrique Faria Fine Art is pleased to present Modern Entanglements, Alessandro Balteo Yazbeck’s second solo exhibition at the gallery. The mixed-media installations, which have been in progress for nearly a decade, examine the power of public messages and public secrets. These installations, or “entanglements,” as the artist terms them, are creative juxtapositions of disparate elements drawn from various disciplines and sources. Their aim is to re-contextualize historic problems within present-day circumstances.
Balteo Yazbeck’s uneasy collocations explore the evolution of social, political, and cultural structures, and how they structure our understanding of the world. The Chinchorro/Hammock series (2004-2013) depicts the current friction between the Venezuelan government and its diverse ethnic populations. Balteo Yazbeck places framed silkscreens from another Venezuelan artist (Rolando Peña’s Oil Project series) within the woven cords of hammocks made by indigenous craftsmen. As Venezuela’s oil exploitation was nationalized in the 1970s, oil profits were inextricably laced into government revenue, and the expansion of production has only exacerbated the situation. The contrast of industrial oil imagery and indigenous craft also evokes the promotion of technological advancement over cultural preservation.
Other installations examine the global impact of larger constellations of power. The sculptural component of Eames-Derivative (2006-2013), an installation produced in collaboration with art historian Media Farzin, is comprised of custom-made slotted cards that depict now outmoded computer technology. The cards are a “remake” of the Computer House of Cards, produced by the Eames office in 1970 for IBM’s pavilion at the Osaka World’s Fair. Much of the Eames’ work for IBM was intended to promote a friendly image of computers, working to establish the omnipresence of digital technology that defines today’s increasingly complex global society. The sculptural house of cards created in Eames-Derivative portrays the dominant influence of modern technology and the fragility of the financial systems that keep the world going.
Balteo Yazbeck’s series Israeli Nuclear Arsenal (2004-2013) publicizes sensitive information. The billboard work Waldorf Astoria, 1961 intertwines the histories of US-Israeli relations and abstract art’s use as propaganda. Israel’s possession of advanced nuclear weapons was first revealed to the public when Mordecai Vanunu leaked photographs of the Dimona power plant to the British press in 1986. But in 1961, U.S. president John F. Kennedy had met with Israeli Prime Minister David Ben-Gurion at the famed hotel to discuss how they might persuade the world of Israel’s peaceful purposes in building a nuclear reactor. An excerpt of that conversation is printed against the backdrop of an abstract painting, one of many such works used by the CIA as Cold War propaganda.
A natural reaction to an entanglement is to unravel it, to follow the chaos back to its source. Modern Entanglements offers an alternative method to locate, frame and unpack the complexities that constitute our understanding of the world we live in.
Alessandro Balteo Yazbeck (b. 1972) graduated in Fine Arts in his native city of Caracas, Venezuela, where he has exhibited his work extensively. He moved his practice to New York from 2000 to 2010, and is now based in Berlin.
His work has been included in numerous group exhibitions including most recently: “Liquid Assets: In the Aftermath of the Transformation of Money,” Steirischer Herbst, Graz, Austria (2013); “Order, Chaos, and the Space between: Contemporary Latin American Art from the Diane and Bruce Halle Collection,” Phoenix Art Museum, Phoenix, (2013); “When Attitudes Became Form Become Attitudes,” CCA Wattis Institute, San Francisco (2012); “Artist on the News,” Creative Time, New York (2012); “Liberalis,” Lütze-Museum and Galerie der Stadt Sindelfingen (2011); 12th International Istanbul Biennial, Istanbul (2011); “Then & Now: Abstraction in Latin American art, 1950 to Present,” Deutsche Bank, New York (2010); “Panorama,” Museu de Arte Moderna de Sao Paulo (2009).
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Henrique Faria Fine Art is pleased to present Liminal, Emilia Azcárate’s first exhibition at the gallery and in New York City. Her works on paper, canvas and board, present unique forms of conceptualizing and materializing her focus on spirituality. The installations shown in the gallery space will highlight color, concentric compositions and forms of calligraphy. The disciplines of her meditation practice carry her through her art making, providing a structure that allows for the blurring between internal reflection and participation in the frenetic activity of contemporary society.
Azcárate’s mandalas are one such example. The mandala has been used for millennia in Hindu and Buddhist iconography as a means of centering the practitioner, aiding in concentration and meditation. The geometric patterns found within them are meant to resemble a microcosm of the universe and to transcend the finite boundaries of space and life by signifying the limitlessness of the mind and the cosmos. The mandalas that Azcárate creates are composed of discarded bottle caps foraged from the streets of the cities she visits. Bearing the names of the cities in which they were generated, the mandalas are contemporary microcosms that represent the inclinations of their constituents. The mandalas are mounted in the gallery space according to the creative and intuitive processes that guide Azcárate’s wanderings through urban neighborhoods-each experience is a unique interaction.
The “Gohonzon” is used in Nichiren Buddhism and takes the shape of a scroll inscribed with Japanese and Sanskrit characters that embodies the principles of Nam-myoho-renge-kyo, which is the life state of Buddahood inherent in all people. In her series Gohonzon (2013-present) she builds on the circular forms of the scroll by abstracting them and layering stark monochromes and concentric patterns. With the Gohonzon occupying a place of high importance in Nichiren Buddhism and meditation, these works offer an insight into the artist’s spiritual, aesthetic and conceptual interpretation of this complex object of devotion and its primacy in her Buddhist practice. The Practicables series (2012-present) is also structured around the prominence of the circle but is dedicated to the physical acts of continuous spiritual practice and the varied emotions and gestures that comprise it. This sense of engagement, set forth by Azcárate, is completed by the requirement for viewer interaction with the Practicables. Placed on a surface instead of being hung on a wall, the individual paintings can be rearranged and manipulated to create new compositions, which allow the viewer to become involved with the works on a personal level.
In Liminal, one can see how profoundly Azcárate has integrated her spirituality and art into her everyday life. As experienced through her Postales, an ongoing series of mail art sent to the gallery from her studio in Madrid, and her mandalas, which involve meditative practices in the urban environment, as well as her Practicables and Gohonzon series, which invite the spectator to participate in her conceptual and creative forms of materializing her spiritual practice, Azcárate demonstrates how she can bridge these very different worlds. Through these connections we too can appreciate the subtleties between internal and external, between the material and the spiritual.
In parallel to this exhibition, Turner has published the book Liminal, a survey of Azcarate’s work with essays by Cecilia Fajardo-Hill, Pablo León de la Barra and Chus Martínez.
Emilia Azcárate (Caracas, 1964) studied Fine Arts at the Central Saint Martins School of Art in London in the eighties. She participated in La Llama International Artists Workshop in Venezuela and in the CCA7 artist-in-residency program in Trinidad. She won the first National Prize for Visual Arts Arturo Michelena in 1999 and in 2006 she was awarded the Cisneros Fontanals Foundation Grant Program (CIFO). She lives and works in Madrid.
Azcárate has had individual exhibitions in Distrito 4 Gallery, Madrid; Faría+Fabregas Gallery and Periférico Caracas, Caracas; Casa de America, Madrid; Caribbean Contemporary Arts 7, Port of Spain; Alejandro Otero Museum and Sala Mendoza, Caracas.
She has also participated in numerous group exhibitions and biennials, in institutions such as the Museo Nacional de Bellas Artes, Havana; Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria; Americas Society, New York; Museo de Arte Moderno Cuenca, Ecuador; São Paulo Biennale; Prague Biennale and the Havana Biennial.
Her work is represented in various collections including the Sayago and Pardon Collection, Los Angeles; Cisneros Fontanals (CIFO ) Collection, Miami; Colección Patricia Phelps de Cisneros, New York; Museo Alejandro Otero, Caracas; Banco Mercantil Collection, Caracas; Berezdivin Collection, Puerto Rico; Museo de Arte Contemporáneo, Caracas; Banesco Foundation Collection, Caracas; Bank of Spain Collection and Coca Cola Foundation, Madrid.
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Henrique Faria Fine Art is pleased to present Modus Operandi, Luis Molina-Pantin’s second exhibition with Henrique Faria and his fourth exhibition in New York City. Opening June 20, the show will feature a selection of photographs and installations spanning the artist’s twenty-year career. Molina-Pantin’s itinerancy throughout the United States, Canada, Germany and Venezuela has both influenced and developed his sharp eye and his commitment to exposing the failures of social, economic and cultural institutions. By appropriating specific and found objects and inserting them into his artistic milieu, Molina-Pantin paradoxically collects that which he critiques. In so doing, he mines beneath the surface of commercial items and reveals sinister, but insightful glimpses into the societies to which they belong.
Luis Molina-Pantin describes his artistic methodology–the search for banal objects that have become artifacts of different cultural and historical landscapes–as “urban archeology”. The series 28 Piggy Banks from Venezuelan Intervened or Bankrupted Banks (2011), spans an entire wall, highlighting the bright colors and fun shapes of these engaging, personal piggy banks. The biting contradiction becomes apparent as the viewer realizes that these piggy banks are empty and further reconciles their presence with the reality of Venezuela’s inflation rate being the highest in Latin America.. Moreover, Molina-Pantin installs other ‘portraits’ of obsolete cultural artifacts, including Untitled (15 Brick Mobile Phones) (2011). He scoured the Internet–just as an Egyptologist would comb through materials at a dig site–looking for now ‘ancient’ cell phones. Lining the pedestal like old tombstones, these brick phones indicate the extent to which technology impacts objects, and, ultimately, our use of them.
In the same way that the artist works as an urban archeologist, he also strives to uncover truths hidden behind beautifully polished social and cultural veneers. In the Chelsea Galleries series (2001-2006), Molina-Pantin continues in the tradition of Venezuelan Op-Art artists by emphasizing the strict linear arrangement and repetition of the bookshelves and filing cabinets. Using a hidden camera, Molina-Pantin captures the traditionally unseen infrastructure of the gallery: its office and managerial employees. The vitality, energy and mystery found in the art on display elsewhere in the gallery are subverted through the artist’s focus on the mundane and administrative-the inner landscape of a gallery. The exposure of artifice is also found in the series Inmobilia (1997), where the pristine and generic environments par excellence of a Venezuelan telenovela cannot escape the encroaching set lighting and warehouse location that threaten to reveal the contrivance and generalization of Venezuelan domestic interiors to the general public.
It is in the constantly shifting balance between appearance and deeper meaning, between exaggeration and hyper-reality that we find the work of Luis Molina-Pantin. As Gabriela Rangel concludes, “Molina-Pantin’s images tackle the dark side of Latin America that coexists within touristy heavens through metonymic dérives.”
Luis Molina-Pantin, Venezuelan born in Geneva in 1969, lives and works in Caracas. He received his BFA at Concordia University in Montréal in 1994 and his MFA in New Genres at the San Francisco Art Institute in 1997.
Selected Solo Exhibitions include Valores Humanos, Faría-Fábregas Galería, Caracas (2012); Nuevas Adquisiciones, Periférico Caracas | Arte Contemporáneo, Caracas (2009), Estudio informal de la arquitectura híbrida Vol. 1, La narco-arquitectura y sus contribuciones a la comunidad, Cali-Bogotá, Colombia, Valenzuela Klenner Galería, Bogotá (2011); in Federico Luger, Milano and Galería Marta Cervera, Madrid (2008) and in Sala Mendoza, Caracas (2007) and Confort 1996-2000, Museo Alejandro Otero, Caracas (2000).
His work has also been featured in numerous group exhibitions, such as: A Different Kind of Order: The ICP Triennial, International Center of Photography, NY (2013); Del Buen Salvaje al Conceptual Revolucionario, Travesía Cuatro, Madrid (2013); Tres Perspectivas: Contemporary Art from Latin America, Carnegie Hall, NY(2012); The Politics Of Place: Latin American Photography, Past and Present, Phoenix Art Museum, Phoenix, AZ (2012); 6ta. VentoSul, Bienal de Curitiba, Brazil (2011); Islands+Ghettos, NGBK and Kunstraum Kreuzberg/Bethanien, Berlin (2009); 7th Gwangju Biennale, Gwangju (2008); Urgente! 41 Salón Nacional de Artistas, Museo de Arte Moderno La Tertulia, Cali (2008); Mapas Abiertos, Fotografía Latinoamericana 1991-2002, Palais de Beaux Arts, Brussels, Belgium (2008); Positions in Context: 2007 CIFO Grants program exhibition, CIFO, Miami (2007); Jump Cuts: Arte Venezolano Contemporáneo, Colección Mercantil, Americas Society, NY(2005) XXV Bienal Internacional de Sao Paulo, Sao Paulo, Brazil (2002); Buried Mirrors, Center for Curatorial Studies at Bard College, NY(2001), and the VII Bienal Internacional de La Habana, Havana, Cuba (2000).
His work has been acquired by the following institutions: The Museum of Fine Arts, Houston; Centro Andaluz de Arte Contemporáneo, Seville; Patricia Phelps de Cisneros Collection, New York and Caracas; The Museum of Latin American Art, (MOLAA) Long Beach; Diane and Bruce Halle Collection, Scottsdale, AZ; Galería de Arte Nacional and Museo de Bellas Artes, Caracas.
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In this exhibition Henrique Faria Fine Art presents an important selection of the 1960’s and 1970’s works of Alejandro Puente (La Plata, 1933), one of Argentina’s and Latin America’s seminal conceptual artists.
From the beginning of his career, Alejandro Puente developed an abstract body of work based principally on his interest in color. Studying the work of Albers, and working with processes and systems in a similar creative path as that of Sol Lewitt and other minimalist and conceptualist artists of the period, Alejandro Puente’s works were not so much dealing with color as a formal expressive element but as a codification of a system of meaning. As such, colors work as prototypes: unanimously accepted denominations like the chromatic scale that establishes a system of conventional relations; that is to say a type of language. As such, his Sistemas Cromáticos (Chromatic Systems) are composed of clean, flat, pure lines of color, minimizing the pictorial brush to the point of its virtual disappearance.
The next stage in his creative process, strongly strengthen by his time spent in New York between 1967 and 1971, was the development of his series Elementos Modulares (Modular Elements), an example of which is the 1967 work Cubo (Cube). In these works, the artist abandons the physical wall space and invites the viewer to insert himself into three-dimensional modular structures in which color and structure are both perceived in a spatial and sensorial way. Puente says about these works: What is important about it is the idea: others can take care of the execution. Once established a combination, I could as well give the problem for a computer to determinate the amount of possible relations”1
A distinctive point of the works and the theory developed by Puente is that his series of chromatic systems does not seek to remove itself from referential or ideological information, a feature prevalent in movements from that period. On the contrary, for Puente there is an important reference to historical work that uses colors and the way they were combined, such as their intertwining in the pre- Columbian drawings and fabrics. The artist clearly understood that these works, natural to indigenous American peoples, flourished well before they were taken up by the 20th century vanguards.
From the early 60’s, Puente participated in the Buenos Aires avant-garde
scene centered mainly around the Instituto Di Tella. This institution was directed by Jorge Romero Brest and in 1967 organized the important exhibition “Mas allá de la
1 Alejandro Puente in Yurkievich, Saúl. Revista Nacional de Cultura, May, June Number 193. Caracas, 1970
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geometría” (Beyond Geometry), in which Puente participated. That same year, the artist won the Guggenheim fellowship with a recommendation letter by Sam Hunter and Clement Greenberg, who had traveled to Buenos Aires following an increase of cultural interchange between New York of artists, curators and exhibitions.2 In 1968, a North American version of “Beyond Geometry” was organized at the Center for Inter-American Relations in New York.
During his stay in NYC, which lasted until 1971, Puente continued his friendship with Sol LeWitt, whom he had met in Buenos Aires, and developed a strong professional relationship with Lucy Lippard, whom he would later recommend as a juror for an award in Buenos Aires. In 1970, Puente participated in an exhibition “Information”, at The Museum of Modern Art that would champion the conceptualist movement in the United States, and in which many Argentines participated together with Vito Acconci, Carl Andre, John Baldessari, Bernd & Hilla Becher, Joseph Beuys, Walter de Maria, Helio Oiticica, Yoko Ono, Dennis Oppenheim, Michelangelo Pistoletto, Jeff Wall and Lawrence Weiner. Alejandro Puente lives and works in Buenos Aires
“The word system, like any other technical word taken from colloquial speech, has many meanings; it is therefore imprecise. Though this lack of precision in a technical word might initially seem dangerous, it is, in fact, often useful because it allows ideas to flourish while they are still vague; it allows connections to be made between ideas yet to be explored; and it allows those ideas to be extended and broadened instead of circumscribed and confined by a premature definition and precision. Of the many definitions of the word system, we are interested in two: the idea of “system as totality” and the idea of “generating system”. Though on the surface they may seem similar, these two notions are really quite different. In the first case, the word system makes reference to a holistic consideration of a given thing. In the second, the word system makes no reference whatsoever to things, but rather to the interplay of parts and rules of combination capable of generating many things. (...)Generating systems needn’t be conscious or explicit; in reality, the system becomes part of the resulting object. The artist becomes a ‘designer of systems that make objects’ instead of a ‘designer of objects’ ”.
Alejandro Puente, New York, 1968. Reproduced in Rafael Cippolini (ed.), Manifiestos argentinos. Políticas de lo visual 1900-2000, Buenos Aires, Adriana Hidalgo, 2003 and in Alonso, Rodrigo and others, Imán: Nueva York, Buenos Aires, Fundación Proa, 2011 (exhibition catalogue)
2 Refer to Alonso, Rodrigo and others, Imán: Nueva York, Buenos Aires, Fundación Proa, 2011 (exhibition catalogue) and Andrea Giunta, Vanguardia, internacionalismo y política (Arte argentino en los años sesenta), Paidós, Buenos Aires, 2001
Horacio Zabala: Cartographies, Duplications, Hypotheses
By Fernando Davis
The series of maps depicting Argentina or South America, started by Zabala in 1972, highlighted the conflictive and tumultuous sociopolitical period of the 1970s in Latin America, when the artist, as one of the thirteen founding members of the “Grupo de los Trece”, was working with the “Centro de Arte y Comunicación (CAYC)” in Buenos Aires, where a selection of these works was shown as part of a solo exhibition titled “Anteproyectos” (First Drafts) in 1973.
The works, school maps, printed or drawn by the artist, were burnt, deformed, intervened, blocked out or obscured with the repetitive application of inked rubber stamps mirroring the heightened state of censorship and systematic use of violence prevalent in most South American countries at the time.
In the characteristic two-part process of removing and repositioning when working with “readymades” (ordinary manufactured objects that the artist selects and modifies transforming them into artworks), Zabala appropriates the standard symbols and conventions of drawn maps and replaces them in a new framework of semantic references. If the graphic representation of maps refers to a system that quantifies and charts the landscape, Zabala’s intervened maps work as a metaphor of the use of power and its effects on bodies and territories, an “anti-cartography” of sorts. As a result, the established cartographical order is disrupted calling attention to the violent Latin American situation of the early 70s.
In 1984, while residing in Vienna, Zabala began a systematic practice that consisted of tracing entire pages from leading international periodicals, ranging from the front page to pages of the financial markets as well as the entertainment and comic sections. In each of the works, the artist follows the same procedure: mirroring bodies of text, photographs and charts from the printed newspaper pages onto sheets of tracing paper using lines and planes of color made with oil pastel. A series of these works, illustrating the artist’s views on the relationships between text and image, original and copy and repetition and deflection, was shown in Paris that same year in an exhibition titled “Duplications & Dédoublements”.
When transforming the text into an image, Zabala shifts the focus from the content of the original text to just the overall form or layout, where its meaning is now questionable. In this process, the so-called “transparency”, self professed by the mass media, is challenged by the artist. Zabala’s manipulation reveals an arbitrary act in the same way the general media manipulates information.
Zabala’s two-fold process deviates from the commonly accepted understanding of what is an original and what is a copy. In the comparison of the periodical’s page and its traced reproduction, the ‘duplications’ not only betray the fidelity of the original model, but at the same time question the relational causality between the original and its ‘copy’.
Normally, in the relationship between the original and the reproduction, the latter is deemed as a derivation or deviation of the former. However, with Zabala’s intervention there is an inversion of roles. His ‘copy’ becomes the original, as it is unique, as opposed to the ‘original’ newspaper, which is actually a multiple and the result of mass production. Instead of switching the hierarchical order, the “Duplications” show that the copy precedes the model while in the process cementing its authority.
In his “First Draft” drawings of the last few years, Zabala revisits a recurrent theme in his work, that of the codification of architectural symbols. Based on his works from the early 1970s, titled “Anteproyectos de Cárceles” (First Drafts of Jails), the artist creates a series of intriguing “Hypotheses” about art. In essence, these hypotheses are monochrome planes connected by punctuation signs and algebraic symbols that create impossible propositions and nonexistent mathematical equations.
Actually, the use of monochromes is found in Zabala’s earlier production. In 1974, the artist created a series, titled "Obstrucciones" (Obstructions), where maps were blocked out (canceled) with rectangular planes of black ink, connecting the neoavant-garde use of monochromes to the widespread presence of political violence and repression in the Latin American continent.
In his series "Hipótesis" (Hypotheses), Zabala imposes a visual conflict upon the monochromes by introducing, between the planes of color,
a series of signs that formulate a new system of semantic references. Zabala’s interventions draw a critical trajectory that attempts to be more of a theoretical investigation about art itself than a detailed study of the monochrome. The endless combinations of the elements (monochromes, punctuation signs and algebraic symbols) that make up these Hypotheses are but a mere indication of the myriad possibilities that still coexist in art today.
Horacio Zabala (Buenos Aires, 1943) is an artist and architect who lived in Europe between 1976 and 1998 before returning to Buenos Aires, where he currently resides and works. From 1972 to 1976, he was part of the “Grupo de los Trece,” formed as part of the Centro de Arte y Comunicación (CAYC). In 1975, together with Edgardo Antonio Vigo, he organized the “Last International Exhibition of Mail Art” at the Galería Arte Nuevo in Buenos Aires and a year later, while residing in Rome, proposed an international poll as well as a socio - aesthetic intervention aimed at artists, art historians and art critics under the banner “Hoy el Arte es una Cárcel” (Today Art is a Jail). In 1984, “Duplications & Dédoublements” was exhibited at Galerie Donguy in Paris. In 1997, Zabala concluded El arte o el mundo por segunda vez (Art or the World for the Second Time), an electronic interactive piece designed for the internet and produced for the Centre pour l’Image Contemporaine Saint-Gervais in Geneva. In 2007, he exhibited a retrospective of his work from the 1970s at Fundación Alon in Buenos Aires titled “Horacio Zabala. Anteproyectos (1972-1978)”. In the last few years, he has participated in “Subversive Practices. Art under Conditions of Political Repression: 60s – 80s / South America / Europe” – Württembergischer Kunstverein Stuttgart, 2009 and “Sistemas, Acciones y Procesos. 1965 - 1975” - Fundación PROA, Buenos Aires, 2011. He has authored "El arte o el mundo por segunda vez" (Rosario, UNR, 2000) and Vademecum para artistas (Buenos Aires, Asunto Impreso, 2009). His work is represented in the collections of Museo de Arte Moderno, Buenos Aires; Museu de Arte Contemporânea da Universidade de Sâo Paulo, Sao Paulo; Tate Modern, London; The University of Iowa Museum of Art, Iowa; Museo Nacional de Bellas Artes, Buenos Aires; Museo Nacional Centro de Arte Reina Sofía, Madrid; University of Essex Collection of Latin American Art, Essex; Daros Latinamerica, Zürich; Cisneros Fontanals Art Foundation (CIFO), Miami and Middlesbrough Institute of Modern Art (MIMA), Middlesbrough.
Henrique Faria Fine Art is proud to present works from the 1960s and 1970s by Jaime Davidovich. The work Taped Project, first shown at the Akron Museum in 1972, will be recreated in the gallery together with sketches and drawings from that series of works created between 1970 and 1974 in several cultural institutions throughout the United States. Furthermore, the video installation Blue, Red and Yellow (1974), as well as photo collages from the 1970s, will also be exhibited. Concurrently, a selection of Davidovich’s video production between 1972 and 1975 will be projected.
In the early 1960s, Jaime Davidovich created paintings with a strong emphasis on surface and matter embracing the movement of Informalism, which proposed an abstraction that focused on texture, color and gesture.
Davidovich’s early paintings were purposely not framed but attached to the exhibition walls with tape, breaking the boundaries that the frame imposes on the work. This practice reveals his early interest in encompassing spectator and space as integral parts of his work, an interest he acquired from Lucio Fontana and Spatialism.
Having moved from Buenos Aires to New York in 1963, Davidovich continued his research on support and space and how they relate to the spectator. This investigation led him to start working directly with tape as an artistic material, creating textured surfaces by applying different kinds of tapes to the space. The series of Taped Projects was born, which developed into many site-specific works, including his installation at the Akron Art Institute in Ohio in 1972 and his participation in the Whitney Biennial the following year.
The repetitive application of tape reveals the performative characteristic of these pieces. The spectator, as an active viewer, reconstructs the creative process in his mind while observing the work. The participation of the spectator was also emphasized in the scale these works could acquire, at times inhabiting different walls, and in the case of the Whitney Project, going through the floors of the museum’s building. Thus, the visitor could only understand and engage the totality of the piece through his actual movement around the space.
By the end of the decade, Davidovich started experimenting with a new kind of tape that was becoming widely accessible: videotape. This would become the medium for which Davidovich would gain notoriety in the art scene, especially through his work with media and television, creating projects such as Cable SoHo, Artist Television Network and The Live! Show, where he would satirize the media, art and society through his alter ego Dr. Videovich.
As a culmination of the Taped Projects, the video installation Blue, Red and Yellow (1974) presented three simultaneous videos of the artist taping television screens with red, blue and yellow, the primary colors in painting, as opposed to the primary colors of video: red, blue and green. The performative element of the Taped Projects was then made explicit and performance became a central part of the work. Thus, two aspects of the artist’s work are merged, that of the painter and the video maker.
Aimé Iglesias Lukin
Jaime Davidovich was born in Buenos Aires, Argentina in 1936. Educated at the National College in Buenos Aires, Argentina; the University of Uruguay; and the School of Visual Arts in New York, Davidovich has widely exhibited at museums and galleries in the US and internationally in Iran, Spain, Brazil, Cuba, Argentina, Colombia, Belgium, Italy, France, and Germany.
He began to exhibit his work towards the end of the 1950s at the Lirolay Gallery, as well as other venues in Argentina. In 1962 he took part in the Premio Ver y Estimar in Buenos Aires and one year later was given a grant to travel to New York where he studied at the School of Visual Arts. At the end of the seventies, his work became more environmental, a transition that gave origin to the Taped Projects. Under the auspices of EAT (Experiments in Art and Technology), he carried out a collection of works in which he replaced canvases with adhesive tapes. In 1973, Davidovich was invited to participate in the Biennial of the Whitney Museum of American Art. His experiments with tapes originated the project Tape as Art/Art on Tape, in which Davidovich proposed to confront the experiences produced by these two heterogenic mediums. Meanwhile, throughout the decade, he created a collection of videos: Road (1972); Blue, Red, Yellow (1974); Baseboard (1975), 3 Mercer Street (1975) and La Patria Vacía (1975), Interior (1976) and Two Windows (1976). These videos enabled him not only to exhibit in some of the most important cultural spaces in the United States, but also to receive grants from The National Endowment for the Arts and The New York State Council on the Arts, among others. In 1976, together with other artists, he founded Cable Soho and served as its first program director. One year later, he became a founding member of the Artists Television Network (ATN), an institution aimed at promoting television artists and their work, where he served as the director between 1977 and 1983.
In 1984, he returned to videoart and embraced a style that was more explicitly political with his creation of Evita: A Video Scrapbook, an investigation of the historical and mythical figure Eva Perón, to whom he would return in 1990 with Eva Perón, Then and Now. Since then, he has produced video installations that articulate past preoccupations and current concerns in relation to the phenomenon of global culture. He has had two retrospectives: one in 1991 in the American Museum of the Moving Image, New York, and the other in 2010, at Artium Vitoria-Gasteiz, Spain. In 2012, he was awarded a grant from the Lower Manhattan Cultural Council.
In parallel to this exhibition, Davidovich will exhibit a selection of his video works at "MediaNoche", an alternative space in East Harlem.
This current exhibition is presenting a focused choice of works mapping out a prolific, richly paradoxical career that spans several decades, spreads over two continents and encompasses many avatars of the recorded image – still, moving, shot with time-lapse devices, dipped into tonal solutions, or reprocessed – and the written word – spoken, printed or coded. In a way, even though he spent forty years in New York City, Leandro Katz has always remained an inhabitant of the luxuriant “literary jungle” of Latin America. Scratch the surface of a mean New York street, and you will unearth a pre-Columbian artifact, left there by a drunken Inca on his way to Coney Island. No wonder that Katz’s world is constructed around sedimentation – one layer covering another layer itself covering another one – and cryptic meanings. The drunken Inca, let’s not forget, never made it to Coney Island; he was murdered by Conquistadores, a “civilization” was built on his corpse, but he left behind these strange codices that, in shame and in guilt, in everyday oblivion, modern man keeps attempting to decipher.
The post-Columbian condition, while it has opened a fertile terrain for anthropology, also digs an abyss within the speaking subject. The split is not so much, as in the Saussurian model, between the signifier (visuals, sounds, movement) and the signified (the “meaning”), but between the mundane surface and what is hidden beneath it. Every subject is an archeological field, in which are buried entire civilizations whose languages, while lost to us, nonetheless address us.
Starting his career as a published poet in Buenos Aires, then as poet/performer/translator/publisher of artists’ books wandering throughout Latin America and ending up in New York via San Francisco and New Orleans, Katz got involved in photography through his interest for the Puna beads in Ecuador – an archeological find he investigated through his use of a formal system. Shortly afterwards, he produced S(h)elf Portrait, a sequences of photographs, in which his New York studio is transformed over time
by the building/reorganization of shelves and the variation of light. Shifts in the camera position and
in the grain of film reveal different aspects of the space, and, as the sequence unfolds, the previous photographs are pinned on the wall, creating a structure en abyme. At about the same period, Katz started his first experiments with super-8, and shot Los Angeles Station in Guatemala, Crowd 7 x 7 in Ecuador and the first two “moon films,” Twelve Moons (& 365 Sunsets) and Moonshots. In a radical move, the work is already constructed as an archeological site – that would be brought to light, later, in different contexts. Shot in the early 1970s, Katz’s first four films are dated 1976, the year he transferred them into 16mm for a show at the Millennium Film Workshop in New York. His filmwork is currently undergoing another metamorphosis, being archived, restored and digitized, as if it was “found material.” And S(h)elf Portrait became an artists’ book in 2008, under the aegis of Katz’s independent press, Viper’s Tongue Books and with the support of Henrique Faria Fine Art. So time is encapsulated not only in the work’s original design, but in the way it is, so to speak, unearthed, exhibited and re-presented years after its making.
This is not the post-modern recycling of everything past, but a slowly emerging strategy of the sediment. Post-modernism, whose best-known trope is “the empty signifier,” gears toward the eradication, or the flattening of meaning. For Katz the meaning is buried, cryptic, a labyrinth within a labyrinth, a universal language of half-erased signs, and the signifier, no matter how obscure, is a sort of
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echo chamber of words once spoken by now-dead people (Native American populations, Che Guevara, strikers murdered by the police). A signifier, said Lacan, represents a subject to another signifier.
A hieroglyph tells another hieroglyph “there was a man there once,” and to receive what is being transmitted to him, the artist has to turn himself into a hieroglyph.
The wealth, the allure, the seductive mystery of Katz’s work bear witness of this successful alchemy. The artist is no longer an “author,” he is one cipher in a chain of ciphers over which the passing of time keeps shedding new shades of light. Crowd 7 x 7, once a formal exercise into the rhythmical relationship of the cinematic image to the off-screen space, acquires new gravitas with the completion of The Day You’ll Love Me: the hidden object of the crowd’s gaze was Che Guevara’s features. In Paris Has Changed a Lot, a heroic experiment in which the image was shot and projected sideways, a busy Manhattan stretch was presented as a fragment of film found, maybe, in a time capsule or in somebody’s attic; now it is a true period piece, remnant of a city that is no more, New York in the 1970s.
A longstanding obsession, the moon has inspired some of Katz’s best known works: four films, a
series of objects and installations (including The Lunar Typewriter, which combines a now-antiquated device with an endeavor to turn the different phases of the moon into a secret code). The moon shines over archeological ruins, over the blurred outlines of modern cities drenched in smog; it was the first spectacle, the first reflective screen that communities would gather to watch. The desire to lovingly capture on film the light transmitted by the moon, its aura, its changing shape, its evolving relationship with passing clouds and with the colors of the sky, leads to another form of alchemical transformation: light turns into light, the sheer beauty of the filmic spectacle into a pure signifier.
From the earth, one face of the moon will always remain off-screen. Katz’s work is as much structured around what it does not show as around what it shows; his object is the partial vision, the trace, the half- buried codex. In Crowd 7 X 7 and The Hours, he foregrounds the gaze, eliding what the crowd sees. In S(h)elf Portrait, he turns himself into a ghostly presence, a blurred shadow tantalizing the frame, a sort of afterimage or afterthought. A hieroglyph among hieroglyphs.
Leandro Katz. Argentina, 1938
A visual artist, writer, and filmmaker, he is known for his films and his photographic installations, as well as his long-term, multi-media projects that delve into Latin American history through a combination of scholarly research, anthropology, photography, moving images and printed texts.
Leandro Katz has produced books and artists’ books, and seventeen films, including Splits (1978),
The Visit (1980-86), The Day You’ll Love Me (1997) and Paradox (2001). His latest artists’ book, S(h)elf Portrait, was published in Buenos Aires in 2008. His most recent books, Natural History and The Ghosts of Ñancahuazú, were published in 2010. Recent exhibitions include Encuentros de Pamplona 72: fin de fiesta del arte experimental (Museo Reina Sofía, Madrid, 2009), Natural History (Henrique Faria Fine Art, New York, 2010), Imán-New York (Proa, Buenos Aires, 2010), 10,000 Lives (Gwangju Biennale, Gwangju, 2010) and A (Los Alfabetos), (11x7 Gallery, Buenos Aires, 2011).
For his work he has received support from the Guggenheim Foundation, the Rockefeller Foundation, the National Endowment for the Arts (USA), and the Hubert Bals Fund (Holland), among many others. Leandro Katz was a member of the faculty at the School of Visual Arts, New York, the Semiotics Program at Brown University, Rhode Island, and a professor of Film Production and Theory at the School of Art and Communication, William Paterson University, New Jersey. A New York artist for over four decades, he now lives in Buenos Aires.
Henrique Faria Fine Art is proud to present Waldo Balart first show in New York after 42 years, presenting key works of his production of the 1970s and 1980s.
Balart lived in New York between 1959 and 1970, becoming an artist and establishing strong connections with the peak of the local artistic scene. His early interest in geometric painting took shape and strength when he heard about Joseph Albers’ classes at Princeton, and the Bauhaus vision and worldview impregnated his life and work forever.
Identifying as a concrete painter, Balart recognizes the important influence of artists such as Malevich and Mondrian, nor only formally but also because they opened the possibility to think art in spiritual terms.
Geometric abstract art helps expand the conscience by reuniting the spiritual and the material. Also, art offers a path towards knowledge, to discipline and to fantasy. His interests in theory derived in Balart publication of many essays on art and philosophy.
His Proposition Series with its color sentences and formulas is a clear example of the meaning of color in his work. Color comes from light, and as such forms structures and classifications in a harmonic composition.
The interest with light, again responds not simply to the formal qualities of the painting, but to its relation with the spirit, and the limitations of human perception of the complexity of the world.
A simple walk through this exhibition implies to submerge oneself in a universe of color and shape, to disturbs perception and thus questions our spiritual place in the world. It’s the result of more than 50 years of artistic and intellectual work.
Aimé Iglesias Lukin
Waldo Balart was born in Banes, Cuba in 1931. He studied economics and political science at Santo Tomás Villanueva University in Havana, Cuba. As an amateur painter, he worked days as an accountant until 1959 when he decided to leave Cuba and relocate to New York City. While in New York, he studied art at the MoMA’s Art School from 1959 to 1962 and held his first show in 1961 at the RJ Gallery. During his life in the city, he became friends with artists from the New York School and Pop art movements, acting in some of Andy Warhol’s films. Balart’s style is concerned with geometry, color, order, plane, space and time and he has therefore been celebrated as a constructivist, exploring the formalism of mathematic and chromatic studies. Balart himself is most accomplished and recognized for his contribution to the concrete art movement.
In 1968, he showed at the Iris Clert Gallery in Paris. He moved from New York to Madrid in 1970. In 1972, he had an exhibition at the Museum of Contemporary Art in Madrid. He has had some 50 solo exhibitions and over 100 group exhibitions. Aside from being an artist Waldo Balart has also published books and essays. Some of his publications include The Practice of Concrete Art: The European Society’s Path Toward Knowledge (2011) and a collection of essays that were published throughout Europe known as Essays About Art (1993). Balart has traveled Europe throughout his lifetime and has lived in Madrid, Spain and Liège, Belgi
Omar Carreño: Works from the 50’s and 60’s
Like many of his fellow artists from Venezuela, Omar Carreño moved to Europe in search of an ambience that was more receptive and conducive to artists who were trying to break away from tradition and express their ideas through abstract and geometric works. Arriving in 1950, he stayed for five years, mainly in France, where he was associated with the “Disidentes”, a group of Venezuelan artists led by Alejandro Otero, who were determined to abandon conventional painting. “Etude # 2”, from 1951, is considered by the artist to be one of his most important works from this period and is included in this exhibition. In 1952, Carreño exhibited in the Salon de Realities Nouvelles in Paris along with Carmen Herrera and “Madi” founder Carmelo Arden Quin.
Together with Yaacov Agam in the 1950’s, Carreño is considered one of the creators of Expansionism: a movement in which the viewer no longer plays just a passive role in front of the artwork but can actually modify and rearrange some of its elements, thus transforming and expanding the work . These ideas were introduced to Venezuela when the artist returned in 1966 and created the “Grupo Expansionista” and published the “First Expansionist Manifesto” in 1967. This exhibition includes four rare and exceptional works from this pivotal year, two “Transformables” and two “Expansiones”. The central part of these transformable works in this exhibition consist of cubes that are painted differently on each face and can be removed by the viewer from their individual niches and replaced allowing multiple permutations of the colored elements.
A Line of Color
Inspired by Omar Carreño’s seminal Work “Etude #2”, the gallery is proud to present a group of artists mainly from South America whose works investigate the use of the line and color fields. The featured artists are Yaacov Agam, Juan Araujo, Martín Blaszko, Ary Brizzi, Eduardo Costa, Carlos Cruz-Diez, León Ferrari, Roland Flexner, María Freire, Gego, Jaime Gili, Alejandro Otero, Alejandro Puente, Luis Roldán, Osvaldo Romberg, Jesús Soto and Valentina Valladares. Also included is a work from a North American artist, Ralph Coburn, who was a contemporary of Omar Carreño in France: “Collage Drawing 1950-56”.
Not only did both artists exhibit in Paris in the early 1950’s, but Coburn, along with his close friend and fellow artist Ellsworth Kelly, also exhibited in Caracas in 1952 at the “Primera Muestra Internacional de Arte Abstracto” at the Galería Cuatro Muros. As curator Mary Kate O’Hare wrote in the catalogue of her exhibition - Constructive Spirit, Abstract Art in South and North America - “Ignoring national borders allows us to see convergent artistic tendencies in a new light and to appreciate them within broader conceptual contexts.”
Michael Gitlin: Works from the 1970’s
Whether made of wood or paper, the works in this exhibition explore a common theme: division and displacement, materiality and liminal movement. The artist began by taking a whole unit and dividing it: one became two, three or four. The components of each work were then reconfigured and the new, separate arrangements, resulted in the works on paper and sculptures featured in this show. Our eyes and brain are quick to recreate the shape of the original object, making it easier for us to understand the dynamics of the artist’s intentions and process. A new window is opened to us, a beautiful new order, so aptly demonstrated in the 1976 works on paper from the “Drawing of a Tear Series”.
Early on, except for rare exceptions, Gitlin renounced the modern idea of free-standing sculpture. Instead, his pieces interact with the architecture rather than invade the space. Thus it is not possible to speak in his case of reliefs that are applied to the wall, but of sculptures, such as “Three Part Corner”, that are an integral part of the architecture.
The contemporary discourse on sculpture and drawing has made Gitlin’s practice extremely relevant and prescient, and is one of the compelling reasons why the gallery is showing his work.
Gitlin studied at the Hebrew University and the Bezalel Academy of Art in Jerusalem and Pratt Institute in New York where he currently lives and works. The artist’s sculptures were featured at Documenta 6 in 1977. Works by Gitlin from this period are part of the permanent collections of the Guggenheim Museum in New York, the Stedelijk Museum in Amsterdam and the Ludwig Museum in Cologne, among others.
This is the first time the gallery has exhibited a non Latin American artist. Gitlin’s work resonates with and greatly complements the gallery’s stable of artists such as Horacio Zabala, Leandro Katz, Margarita Paksa and Osvaldo Romberg, whose conceptual works from the 70’s are now being reexamined and actively acquired by private and institutional collections.
José Gabriel Fernández: Recent works
In his most recent works, Fernandez proposes an intimate corporeal reading of sculpture through spotless geometries and naked volumes that arouse a dialogue of the body with the work. In the series titled “Erotes”, as in “Lingam” - from which a suite of photographs reveals singular moments of the same work with subtlety and sensuality – Fernandez remits, be it by their titles or by their forms, to archetypical erotic expressions of desire that reinterpret languages of 20th century Avant-Gardes.
The precise edges and outlines that define these sculptures and reliefs seem to blur their achromatic nature and gravitas, imparting an aura of quietude and timelessness to the ensemble, while giving them a light and ethereal quality, despite the imposing dimensions of some of works. Quiet but potent with energy, the shapes and forms penetrate, modulate, and mutate from one to the other, from negative to positive, from repose to motion in a sensuous inter-dialogue.
Fernandez has exhibited extensively in the United States and throughout the Americas. His work has been featured in major surveys of Latin American Contemporary Art and is represented in major private and public collections. Originally from Venezuela, the artist studied at Middlesex Polytechnic, The Slade School of Fine Art in London and at the Whitney Museum Independent Study Program in New York. Fernandez lives and works in New York.
Henrique Faria Fine Art specializes in geometric abstract, conceptual, modern and contemporary Latin American art and will be exhibiting at Arte BA in Buenos Aires May 19-23, 2011 www.arteba.org
The broken line that runs through the plane’s diagonal midsection seems to slide sideways. Adjacent to yet another line that mimics but displaces it, the diagonal appears to move within the space that opens up between itself and its double. That space is minimal, restrained –the site of a tightly contained flicker that spreads out over the whole surface, as the same procedure of displaced duplication has been applied to the remainder of the work: twice pressed, each time in a slightly different position, against fragments of a single structure in relief, the white sheet of paper appears to the viewer as the support of a pulsating construction.
To perform the described act of reinscription, Magdalena Fernández has used the first work in a series of “surface modulations” that Lygia Clark produced in 1957. The procedure is significant in both a formal and an historical sense. For the line that Fernández breaks down and displaces sideways, thereby creating visually elastic gaps within the plane of paper, had been understood by Clark as an internalization of the pictorial frame –a frame broken and reinscribed, by means of incisions on the plane, within the work’s fractured configuration. Fernández returns to Clark’s formal thinking in order to intensify it. She exacerbates the rupturing, enlivening, and therefore “organic” effect of Clark’s line. Yet by reinscribing and displacing the structure of a modernist work, Fernández also produces a material allegory of her own research, driven by the interest in reconfiguring Latin America’s modernism in ever renewed ways.
The monotype in which Fernández remodulates Clark’s work belongs to “GM,” a series of white-on-white pieces that includes another modernist construction: a poster by A G Fronzoni, which the artist also reinscribes and reinterprets from a contemporary point of view. Like Clark, the Italian designer resorted to the line in order to articulate an elastic geometry –a geometry that compels the plane to generate an unstable, collapsible, even reversible sensation of space. And once again, Fernández retraces the rupturing rhythm of that instability by actually subjecting the plane to the pressure of volume, whereby the ambivalence between projection and recession, strictly perceptual in Fronzoni’s poster, takes on a material condition.
Writers on Fernandez’s work have remarked on this aspect of her research:the interest in objectifying optical sensations within a space that is itself conceived as a constructed object informs, in their opinion, the artist’s installations1. The forest-like threading of 1i011 provides the most recent example. Rather than being the static elements of a rigid geometry, this construction’s fractured metal bands swerve when viewers exert pressure on them. As they oscillate and regain their precarious equilibrium, such elements redraw the space where they are perceived –a space that briefly stops being the empty gap that exists between the metal bands to become a shifting body, an object madeup of tensile spatial relations.
Yet just as it is important to remark on how the installation’s elements objectify space—an observation applicable to the artist’s hanging “Mobile Volumes”, the open frames of which might equally reshape slices of emptiness—the converse operation has also a critical significance in other writings on Fernández’s work: space extracts from the material condition of these pieces the deobjectified traces of their movement2.
It would therefore seem more fitting, when addressing the work of Fernández,to demarcate a zone of intermediation between object and space. Detectedand named “non-objectivity” by critic Ferreira Gullar in relation to neo-concrete art, such a liminal zone would in theory resist the strictures of rigid material conditions—those, for instance, imposed by the framed limits of either pictorial plane or object—so as to allow experience to disperse and recombine itself within a multilayered, multisensory medium. The novelty, both critical and enriching, of Fernández’ approach to the theoretical platform of neo-concrete art lies in her use of video to create elastic articulations of planes dividedby yawning gaps–the internalized transmutation of the frame into the dynamic force of a process of continuous (re)construction (1pmHO008LN, Homage to Hélio Oiticica).
It is also through video that the artist plans to reshape the glass façade of the addition to the Caroline Weiss Law Building that Ludwig Mies van der Rohe designed, in 1958, for Houston’s Museum of Fine Arts. In this case, the medium of video will allow Fernández to unleash a process of dispersal and recombination intended to disrupt the perception of the building as a fixed, circumscribed architectonic object–an object opposed to the fluid, constantly shifting condition of public experience in urban space (1ip011)3. As she had done with Clark’s and Fronzoni’s structures, Fernández’s new project would follow a logic of duplication and displacement: interspersed channels of video would be used to project onto the façade’s glass panes the structural lattice that sustains them; at first coinciding with the tectonic grid, the projected lines would then proceed to expand and contract, thereby making of the façade— the building’s framed face—a shifting, elastic body capable of remodulating the relation between city and construction, between space and object.
1 See Luis Pérez-Oramas, “Lo casi visible,” in Magdalena Fernández (Museo de Arte Moderno Jesús Soto, 1997), and A.G. Fronzoni,
“Magdalena Fernández Arriaga,” 1993.
2 See Elisabetta Pozetti, “Magdalena Fernández Arriaga,” in Steellife, 2009.
3 The letters “ip” in the title of this work in progress stand for “intervención pública” (public intervention). This new aspect of the artist’s work corroborates her intention to achieve a structural integration between art and architecture. Thus the project is the prototype of a yet unexplored way of linking art and everyday life, which is also a critical continuation of Latin American modernism’s ideals.
Marta Minujín, Argentinian avant-garde and conceptual artist, invited Pop Art icon, Andy Warhol, to this New York performance in 1985, in which she paid off Argentina’s external debt using corn, the traditional Latin American food staple and most widely grown crop in the Americas.
Surrounded by 1,000 ears of corn, spray painted gold, Warhol and Minujín acted out the negotiation of the debt, symbolizing not only the interchange of merchandise, but also of artistic and cultural experiences. After 12 photographic shots taken in Warhol’s studio, The Factory, the artists signed and distributed the individual ears of corn to the public in front of the Empire State Building.
As such, this piece has become a symbol of the cultural relations between the United States and Latin America, undertaken by the greatest Pop Art exponents of each country. After the recent rediscovery of three of the lost shots, the expanded series of six photographs is now presented for the first time at Henrique
Faria Fine Art.
Simultaneity in Simultaneity, Three country Happening, 1966 (Simultaneidad en simultaneidad). October 13 and 24 1966. Installation: four simultaneous projections, map of the project and archival material.
Conceived within the framework of Three Country Happening, a collaboration between Minujín, Allan Kaprow and Wolf Vostell, in which the three artists held simultaneous performances in their cities of origin (Buenos Aires, New York and Berlin, respectively), Simultaneidad en Simultaneidad constituted of a two-stage happening taking place in the mythical avant-garde center Instituto Torcuato Di Tella aiming for the participation of the public through mass media.
Minujín gathered 60 personalities of different disciplines, selected according to their media visibility, filmed and photographed them while a closed-circuit television transmitted the event live. Ten days later, the guests were invited back to observe the results of the recording at the Di Tella. Simultaneously, another performance took place, Instantaneous Invasion, in which three other personalities were bombarded in their homes with interviews, telephone calls, and telegrams. All this was transmitted through different mass media, two of which aired the simultaneous happenings of Vostell and Kaprow. Additionally, 500 people received telephone calls and telegrams with the slogan “You are a creator.”
El pago de la deuda externa argentina con maíz, “el oro latinoamericano”, 1985-2011 (Paying off the Argentine Foreign Debt with Corn, “the Latin American Gold”). 6 fotografías color de una foto performance de 12 tomas. 92.58 x 100 cm cada una.
Edición de 5 + AP
Marta Minujín convocó a Andy Warhol, el rey del arte pop, para esta acción donde salda la deuda externa Argentina con maíz, cultivo latinoamericano que revolucionó la alimentación mundial.
Entre 1000 piezas pintadas con aerosol dorado, Warhol y Minujín actúan la negociación de la deuda dando cuenta no sólo del intercambio de mercancías, sino también de experiencias artísticas y culturales. Luego de las 12 tomas fotográficas realizadas en el taller de Warhol en New York, The Factory, los artistas firmaron y entregaron las mazorcas al público en el Empire State Building.
Esta pieza se vuelve así un símbolo de las relaciones culturales entre Estados Unidos y América Latina, de la mano de los mayores exponentes del arte pop. Luego del descubrimiento de tres de las tomas perdidas, se presenta por primera vez en Henrique Faria Fine Art la serie expandida de seis fotografías.
Simultaneidad en simultaneidad, 1966 (Simultaneity in Simultaneity, Three Country Happening). 13 y 24 de Octubre de 1966. Instalación: cuatro proyecciones simultáneas, mapa del proyecto y material de archivo.
Concebida en el marco de Three Country Happening, una colaboración entre Minujín, Allan Kaprow y Wolf Vostell donde los tres artistas realizarían en simultáneo un happening en sus ciudades de origen (Buenos Aires, Nueva York y Berlín, respectivamente), Simultaneidad en Simultaneidad constituyó una acción de dos etapas que tuvo lugar en el mítico centro de vanguardia Instituto Torcuato Di Tella que buscaba la integración del público a través de los medios de comunicación.
Minujín reunió a 60 personalidades de distintos ámbitos, seleccionadas según su visibilidad mediática, que fueron filmadas y fotografiadas mientras un circuito cerrado de televisión transmitía el evento en vivo. El 24 de Octubre, los invitados fueron convocados a observar el resultado del registro en las pantallas del Di Tella, mientras tenía lugar Invasión Instantánea, otra acción donde tres personalidades eran invadidas en su hogar por medios de comunicación mediante entrevistas, llamados telefónicos y telegramas. Todo esto fue transmitido por distintos canales de televisión y radio, dos de los cuales emitieron los happening simultáneos de Vostell y Kaprow. Asimismo, 500 personas recibieron llamados telefónicos y telegramas con la consigna “Usted es un creador”.
Henrique Faria Fine Art is pleased to present “Other Voices”, a new body of work from Colombian artist Luis Roldan.
Combining objects with sounds and scents, Luis Roldan’s solo exhibition transforms the gallery with installations, sculpture, collages, and drawings.
This exhibition is inspired by the work of Mexican artist Martin Ramirez (1895-1963), considered by many to be an “outsider artist”; however, this is not the case for Roldan who considers Ramirez’s work of great and fascinating quality. The alternative voice of Ramirez is one that Roldan hears clearly. A voice that says to him that everyone has the right to express his/her own opinion.
The large format work, Other Voices, is assembled from different drawings of an image of a horseman, a classical symbol of power and authority. However Roldan has executed this work on recycled board that imitates sheets of a child’s notebook, bringing it down to a more elementary interpretation. The individual sheets have been randomly mounted, fragmenting and dispersing this strength in a more democratic manner.
Even the most humble object has a voice and has an important role to play. With The Dawn, a sculpture incorporating a ramp with soil and horse manure, Roldan perfectly demonstrates this opinion. In the same way Sisyphus, from Greek mythology, repeatedly tries to push the rock up the hill, the dung beetle is forever trying to maneuver the ball of dung. In actual fact the dung is not just a waste product of the horse, but is essential for the successful incubation of the beetle larvae, and a constant, abundant source of food.
Roldan’s Drifter is an electric model train that rushes along a track looping around in a figure-eight, endlessly tracing the symbol of infinity. Covered in colors and illegible fashion imagery, the train transforms itself into a moving sculpture and drawing. One becomes a voyeur on a train journey and all that is associated with it, including childhood memories and Freudian symbolism. Drifter is about how each individual perceives and carries out his/her life journey and how each is dramatically different, despite all of us being on the same track.
Roldan was born in Cali, Colombia and graduated in 1979 in Bogota and received a scholarship to study art history and modern engraving at Atelier 18, Paris. He currently lives and works between New York and Bogota. In 2000 he was awarded the Premio Luis Caballero, and in 2009 he represented Colombia at the 53rd Venice Biennale.
Our reception will be in conjunction with Mireille Mosler who will be exhibiting Spring Flowers.
On view until May 7, 2011. www.mimireillemoslerltd.com.
Henrique Faria Fine Art specializes in geometric abstract, conceptual, modern and contemporary Latin American art and will be exhibiting at ZonaMACO art fair in Mexico City April 6-10. Booth ZMS12 www.ZonaMACO.com
This body of work entangles modernist art with global politics to offer the viewer a narrative of unexpected connections that borders on the absurd. This series, the result of several years of collaboration with art historian Media Farzin, draws on the cultural symmetry between their respective countries, Venezuela and Iran, which led them to investigate the hidden origins of the Cold War.
Balteo Yazbeck’s work is informed by historic conceptual art. He uses exhibition design as a medium to create an aura of curatorial authority for his work. His approach undermines the notion of authorship through explicitly quoting, appropriating or collaboratively incorporating the work of other artists, curators, and historians.
Alessandro Balteo Yazbeck (Caracas, 1972) studied design and fine arts in Caracas, and graduated with an emphasis on sculpture. He worked between Caracas and New York from 2000 to 2010, and is now based in Berlin. Since the mid‐ nineties, his work has been shown extensively in museums and galleries throughout the world, and is represented in many institutional and private collections. In 2008, Balteo Yazbeck had his first US solo exhibition at the Carpenter Center for the Visual Arts at Harvard University. He participated in the second Trienal Poli/Gráfica de San Juan in 2009, and will be taking part the next Istanbul Biennale in 2011.
Media Farzin is an art historian and critic. Her writings on contemporary art have appeared in Tehran Avenue, Bidoun, Art Agenda and Art in America online. She has a BA in Fine Arts from Tehran University, an MA in Curatorial Studies from Columbia University, and is currently a doctoral candidate in Art History at the City University of New York, working on interdisciplinary American art in the postwar period, particularly language‐based work of the 1950s‐ 1970s.
Natural History is a selection of vintage, time-based, photographs from the 1970’s dealing with time and nature by Argentine-American artist, writer and filmmaker Leandro Katz.
The themes of the works in the exhibition range from waterfalls and rivers to the sea and the moon. Although the subject of each composition varies, they all share a common element: each individual subject is repeatedly photographed over a specific interval of time. Twenty seconds in the life of a palm tree, illustrated above, is an early work from 1975 comprised of twenty individual frames of the same tree taken one second apart.
Lunar Alphabet is composed of 26 progressive variations of the faces of the moon, starting from the first visible crescent, through the full moon and ending with the new moon. Each of the 26 individual images was matched to a letter of the alphabet which the artist used to compose words, phrases and sentences, thus inventing the lunar language. The installation Lunar Sentence II and Lunar Alphabet II was just acquired by the Museum of Modern Art, New York.
Leandro Katz’s work has been exhibited at the Whitney Museum of American Art, Museo del Barrio, Bronx Museum for the Arts, PS1, The New Museum of Contemporary Art, Brooklyn Museum, New York; The Museum of Contemporary Art, Los Angeles and most recently, The Museo Nacional Centro de Arte Reina Sofia, Madrid in Spain.
Images from the exhibition can be seen in the artist’s latest book, Natural History, published by the independent press Viper's Tongue Books, with texts in Spanish and English. This book will be launched on March 5th at Newman Popiashvili Gallery, 504 West 22nd Street, New York, from 7 to 9pm. Two other books by the artist, S(h)elf Portrait 1972 and The Ghosts of Ñancahuazú, will also be presented.
Henrique Faria Fine Art, New York and Faría Fábregas Galería, Caracas will be participating in The Armory Show and VOLTANY from March 4- 10.
For additional information please contact the gallery at email@example.com
In medicine, "mechanical ventilation" is a method to assist or replace spontaneous breathing. In New York City, right now, is the concept behind an intensively provocative solo show by Colombian artist Luis Roldán, currently going on at Henrique Faría Fine Art.
Algunas circunstancias suelen describir, en su tránsito veloz, procesos fundamentales del acontecer que rodea la vida y la muerte de todo lo existente; entornos cambiantes cuyos conductos esenciales se encuentran anclados en los silencios subterráneos de un movimiento insospechado para la percepción común. La obra de Emilia Azcárate respira en el centro de estas consideraciones, inmersa en mecanismos de recopilación y enlace, de revelación y ocultamiento, de escritura y tachadura de un alfabeto ignoto: núcleo vivaz de signos que han encontrado en la materia el canal ideal para visibilizar vocablos no pronunciados en el interior de la imagen.
The Venezuelan government announced the death of Hugo Chávez on Tuesday, March 5. In collaboration with the artist; journalist Boris Munoz, and financial advisor Cristian Balteo Yazbeck chronicle the controversial leader’s rise to power, constructing a provisional history from Venezuela’s murky realities.
The conversation includes hyperlinks to a chronology of Chávez’s rise to power and a glossary explaining terms that are key in understanding the present situation in Venezuela. We hope you will follow the links back and forth between sections, reading in the non-linear fashion afforded by this format to supplement the speakers’ insights with their significant historical research.
"Skip to 1977, to the annual National Stationary Show in New York. Jaime Davidovich occupies the single chair at a booth draped in black and blandly labeled "Wooster Enterprises," a monochrome blip among pastel greetings and neon tufts of hair. (Troll dolls were big that year.) Davidovich's wares consist of dry witticisms: a note card bearing the photographic image of a foot that slips into an envelope emblazoned with a shoe, a pad of paper with the phrase "I hate to write" scibbled repeatedly across its surface in faint gray."
By Colby Chamberlain
"What keeps the work of Mr. Balart—who lives and paints in Madrid, where he moved in 1970—from being mere chromatic didacticism is the intensity of his belief in the value of his "systems" in and of themselves. As he told a Spanish newspaper last year, "My mentality is very European, I don't have the pragmatism of the United States.""
From the Wall Street journal By Peter Plagens
November 8 to December 11, 2012
"Curated by Gabriela Rangel with the assistance of Theodora Doulamis and Christina De León."
"Organized by the Visual Arts Department at Americas Society in collaboration with Henrique Faria Fine Art, this exhibition will be on display at Carnegie Hall."
"Leandro Katz, Marta Minujín, and Luis Molina-Pantin, the artists selected for this exhibition are considered fundamental for the development of conceptualism and contemporary art in Latin America."
"Más de 2000 personas recorrieron ayer la 8ª edición de BA Photo, esta vez en la nueva locación del Centro Cultural Recoleta, que ha sido desde todo punto de vista un acierto triple."
"En el Centro Cultural Recoleta se ven retratos de los nombres más emblemáticos del arte en nuestro país, Clorindo Testa, Marta Minujin, Josefina Robirosa, Luis Felipe Noé, Sara Facio, Graciela Taquini y Leandro Katz, entre otros 27 artistas." By Marina Navarro
"En abril de este año, la fotógrafa Gaby Messina fue a una charla en el, Museo de Arte Moderno, de la que participaron los artistas plásticos, Enio Iommi, Luis Wells, Rogelio Polesello y Julio Le Parc. A la salida siguió conversando con Iommi. Tan fascinada quedó con el artista que le pidió a la directora del museo, Laura Buccellato contactarlo. Lo visitó en su casa de Ciudad Jardín, registró la conversación en un video y, por supuesto, lo fotografió en su estudio. Después y con la ayuda del curador Rodrigo Alonso y Laura Buchellato elaboró una lista de artistas a los que quería fotografiar. El resultado, son retratos de los nombres más emblemáticos del arte en nuestro país, Clorindo Testa, Marta Minujin, Josefina Robirosa, Luis Felipe Noé, Sara Facio, Graciela Taquini y Leandro Katz, entre otros. 27 artistas. 27 Maestros."
By Victoria Verlichak
"La feria BA Photo se mudó al Centro Recoleta con un diseño expositivo que permite más aire entre las obras y un mejor recorrido."
"La 8ª edición reúne a más de 300 artistas clásicos, contemporáneos y novísimos, como Anemarie Heinrich, Leandro Katz, Roberto Riverti, Luis González Palma, Ariel Ballester, Alfonso Castillo, Arturo Aguiar, Simón Altkorn, Jacques Bedel, Marcos Zimmermann, Alberto Goldenstein, Julio Le Parc, Oscar Pintor, Martín Weber, Bruno Dubner, Aldo Sessa, y tantos más."
"La feria, que congrega a 30 galerías –Del Infinito, Vasari, Rubbers, Aldo de Souza, Henrique Faría, Schlifka Molina, Arte x Arte, Elsie del Río-Gachi Prieto, Holbox, Foster Catena–, concita actividades paralelas como las conferencias en el auditorio, dentro del horario de este encuentro."
"Moving Image, Contemporary Video Art Fair announced that artists Alessandro Balteo Yazbeck & Media Farzin are the recipients of the inaugural Moving Image Award. The Moving Image Award funds the acquisition by Tate of artwork exhibited at the fair, as selected by Tate's Curator of Film, Stuart Comer.
Regarding his selection, Stuart Comer noted "Chronoscope, 1951, 11pm highlights the convergence in the early 1950s of images, information, global politics and the emerging cultural dominance of broadcast media. Through careful research and clever appropriation, Alessandro Balteo Yazbeck and Media Farzin provide an archaeological approach to media and a blueprint for understanding the intricacies and contemporary legacies of the Cold War."
"Meant to activate the poetic, political and performative registers of the monochrome, "Never Underestimate a Monochrome" (2012) is a conceptual project conceived and organized by Mariángeles Soto-Díaz in a collaborative partnership with the University of Iowa Museum of Art. Around thirty artists from different parts of the world interpreted instructions written by Soto-Díaz, and provided documentation of their monochrome performance for a digital archival space, bringing the textual, embodied and mediated aspects of the monochrome into dialogue."
"Artist & Public Access Television Pioneer, Jaime Davidovich, Gives A Rare Interview"
For the fall 2012 edition of Fade in, a program of specially selected films and videos projected from the windows of the Art Building, the VAC presents Jaime Davidovich’s 1974 silent performance video Blue, Red, Yellow."
São Paulo: Beyond the Benial by Oliver Basciano
"In the galleries, meanwhile, there is an exhibition of Venezuelan artist Alssandro Balteo Yazbeck's large-scale manipulated photographic prints, which display what one might see as various recurring (if contentious)facets of Latin American art - a bright, vivid aesthetic and an interest in politics and urbanism."
Review of Jaime Davidovich at Henrique Faria and Medianoche by Charles Marshall Schultz
"The art of Jaime Davidovich (b.1936) cuts two ways. Made in Duchampian vein, it's at once amusing and confounding, both well reasoned and rough, with an improvisational air of whimsy. Verging on a restrospective of sorts, two concurrent exhibitions featured enough enough of the Argentine artist's output to raise an important question: When will his monograph be written?"
By Holland Cotter
"In size, cultural scope and freshness of material, the three-museum exhibition Caribbean: Crossroads of the World is the big art event of the summer season inNew York, itself one of the largest Caribbean cities."
By Holland Cotter
"Artist-generated entrepreneurship used to be more modest in scale and more inventive in scope than it tends to be now, as the work in this historical show demonstrates. Wooster Enterprises, conceived as a combination design studio and retail outlet, mostly for paper products, was established in SoHo in 1976 by two smart (and still active) multimedia artists, Jaime Davidovich and Judith Henry, with an enthusiastic assist from the Fluxus founder artist George Maciunas and the Fluxus fellow travelers Geoffrey Hendericks, Yoko Ono and Robert Watts."
"Most times we purchase art postcards, we are purchasing copies of famous works from overpriced museum shops. But there was a time when postcards were 'objets d'art' themselves."
HOW do societies fail? Collapse can be precipitated by external invasion, but when an otherwise
sound civilisation is overcome by the sheer military force of barbarians, it frequently succeeds in
assimilating and converting the invaders, as the Chinese absorbed their Mongol conquerors, or the
Persians civilised the Turks who ruled them for centuries.
Review of Jaime Davidovich video works exhibition at Medianoche, by Gail Victoria Braddock Quagliata
By HOLLAND COTTER
"In size, cultural scope and freshness of material, the three-museum exhibition “Caribbean: Crossroads of the World” is the big art event of the summer season in New York, itself one of the largest Caribbean cities."
"El trabajo de Emilio Chapela que expuso la galería neoyorquina Henrique Faría literalmente es la connotación de los valores significativos asociados a un término; traducido sería físicamente una exposición librera que rinde un Homenaje a Roland Barthes –título de la pieza– y su impulsado estudio significante en relación a la semiótica..."
"...and New York-based Henrique Faría, who presented a stunningly spare installation of Emilio Chapela’s Homage to Roland Barthes (2012), a wooden bookshelf stacked with wooden books."
Carlos Ginzburg México, 1980 From the Series “Los viajes de Ginzburg" 1972-1982Silver gelatin print on board21 Panels 40 1/8 x 48 in. (101.9 x 121.9 cm.) eachUnique piece
As part of a project that will take him across the world, in a sort of documentation frenzy or a topographical study of the globalization of the world rather, Carlos Ginzburg created a series of photographs that until now have remained hidden from us. The work, a series of 21 panels comprising eight photographs each, was realized during Ginzburg’s visit to Mexico in and around 1979. As a study of the “Americanization” of the tourist experience, as the artist would explain, the work is subdivided into three categories; that of ‘Marker,’ ‘Tourist’ and ‘Sight.’
Representative of the expansion of the means of knowledge and communication, that became increasingly accessible during the 1970s an 1980s, Ginzburg embarked in a global expedition that would take him from Argentina, starting in 1972, all the way to its conclusion in Nepal in 1982. Always ‘acting’ the role of the tourist, Ginzburg engaged the “microevents” he so faithfully depicts with full force. The quasi-aggression of the motives that took him around the world can be read as a performance of touristic endeavor; it stands as an amalgamation of the artist as social documenter and performative actor.
In Mexico, the series in question, the artist traveled to well recognized location such as “Chichen Itza,” “La torre Latino Americana” and “The Anthropological Museum.” In subdividing the tourist experience in his work, Ginzburg is able to document his global performance. The ‘Marker’ acts as the information, diluted in a series of photographs that give the viewer a contemplative, if rather idealized, idea of the location. The ‘Sight’ stands then as an interpretation of the location through the artist’s perception of the place, a less idealized view. The ‘Tourist’ then stands as conflagration of the experience. The artist in his \role of actor fully engages the location and willingly takes part of the ‘tourist experience.’
By Angela Molina
Porque en el saneamiento de la orilla, finalmente encontraríamos muy pocos, escasísimos nombres de calidad, como el siempre discreto y vehemente Henrique Faria (Nueva York), que presenta el diario de viaje de Carlos Ginzburg por tierras mexicanas en 1980, narrado en 21 paneles fotográficos. En otro stand de la sección Zona MACOSUR, (comisariada por Patrick Charpenel) el mismo Faría ha desplegado la biblioteca del artista Emilio Chapela, en Homenaje a Roland Barthes...
Marta Minujín talks about her life and career in Basta de todo, the most popular radio show from Argentina.
Visit site to listen to Interview
"Unstable Motives: Propaganda, Politics, and the Late Work of Alexander Calder"
by Alex J. Taylor in American Art
ARCO EN DIEZ APUESTAS
Pedro Terán's exhibition reviewed in Venezuela's digital newspaper Tal Cual Digital. By Scarle García
"Terán "es uno de los artistas avant-garde más osados y convincentes de su generación", según la crítica. El elemento performático de sus fotografías conceptuales es la razón.
Sus composiciones incluyen desnudos y al cuestionar al fotógrafo sobre la contribución de estas creaciones al arte conceptual considera que "algunas de las gráficas que conforman esta serie no sólo se concentran en el desnudo, sino que puntualizan la conexión entre lo que se cubre y aquello que se revela, bien sea mostrando la desnudez o no. 'El aporte reside en que el cuerpo del artista deviene el centro de la propuesta plástica, al convertirse en soporte de la obra de arte'. "