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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.
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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
Theater of Transparency features three videos produced by Argentine artist Osvaldo Romberg during the last few years. These works explore the history of transparency and its relation to painting and electronic media, and were at the center of recent installations by the artist in the Mirror Room of the Neue Gallerie arn Landesmuseum Joanneum in Graz, Austria (2008) and the museum balcony of the ZKM | Center for Art and Media in Karlsruhe, Germany (2009). They were projected alongside the protagonists of these narratives - a series of humanoid dolls and puppets made of transparent acrylic.
Pedro Terán's exhibition reviewed in Venezuela's digital newspaper Tal Cual Digital. By Scarle García
In Spanish
"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'. "
By Charles Marshall Schultz. 6/20/2011
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