THE ARTISTIC CAREER OF BEATRIZ GONZÁLEZ
After concluding her retrospective exhibition at the Miguel Urrutia Art Museum, of the Banco de la República, between October and December 2020, the artist Beatriz González has been invited to participate in the exhibition "Another Energy: Power to Continue Challenging", in the company of 15 women artists of wide range and different nationalities, at the Mori Museum in Tokyo (Japan). Here is a summary of her artistic career.
Beatriz González's works have been exhibited in the country since the early sixties, but they only emerged with greater intensity and experimentation from 1965, when she won a special award at the XVII National Salon of Artists with her most famous painting of that time, in three different versions: Los suicidas del Sisga.
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Beatriz González, Los suicidas del Sisga No. 1, óleo sobre tela, 100x85 cm. 1965
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Beatriz González, Los suicidas del Sisga No. 1, óleo sobre tela, 100x85 cm. 1965
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Beatriz González, Los suicidas del Sisga No. 2, óleo sobre tela, 100x120 cm, 1965
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Beatriz González, Los suicidas del Sisga No. 3, óleo sobre tela, 100x85 cm. 1965
Already since 1967, in an incipient way, in her series of national heroes, the painter replaced oil and canvas with enamel and metals that led her to explore unpublished fields of visual creation. Around that time she began to assemble her well-known Furniture, taken from their domestic context, such as cribs, beds, tables, hair dressers or televisions that she uses as integral supports for her enameled paintings, becoming one of his most significant contributions to contemporary art in Colombia.
She also ventured into screen printing and painting on common objects, such as drums, flags and jewelers, and made gigantic canvas backdrops intervening and recreating works by the French Impressionists to build, in short, an iconography that has found multiple channels of plastic expression. It could be argued that she is a pioneer in postmodern art in Colombia, since she breaks with the notions that characterize modernity in terms of techniques, materials, themes and ideology, increasingly approaching a conceptual expression free of any commitment to conventional aesthetics.
Throughout her life trajectory, the artist has insisted on experimenting from different perspectives, but has remained faithful to a theme that is inspired by popular painting, newspaper photographs, religious prints or the works of the great universal masters. However, she drastically alters the colors for others that are flatter, intense or faded, applied with apparent carelessness within a limited range of colors. There are references to pop art in the images intended to demystify, bordering on caricature at times due to her tendency to emphasize the essential elements of the themes and critical humor that emerges from them.
It is not a question of concretizing the ironic, satirical, scathing or caustic aspects by resorting to the ease of traditional illustration. In fact, few artists have developed a compelling sense of humor in their work. We remember, for example, Fernando Botero, Antonio Samudio, Marlene Troll, Juan Camilo Uribe, Diego Pombo, Antonio Caro, Pedro Alcántara's black humor, or even the works of implicit wit and social criticism of the collective El Sindicato de Barranquilla , to name the most prominent in this field. It is a minimal representation that confirms the complicated undertaking of generating a complicity smile in plastic expressions.
Since she first saw the robust figure of President Julio César Turbay (1978-1982) in a newspaper photograph, Beatriz González (Bucaramanga, 1938) thought it would be a good model for a painting, so she started cutting them out and collecting them. She did not know for sure what the final aim of this endeavor would be, but one day she began to draw on this subject and when she realized it she already had a series of sketches that she provisionally exhibited to test the grounds. On that occasion, she also showed a television receiver on which screen the face of the president was displayed, using the enamel-on-metal technique, inaugurating the first Colombian color television, a true novelty that deserved the presidential intervention.
Those initial works in August 1980 were just a glimpse of the potential they hid, and it didn't take long for the painter to discover the extent of her endeavors. Without intending to, she began to work on a design based on a photograph of President Turbay Ayala and a group of people singing some verses at a joyous party. Intuition is more powerful than logic. Without knowing exactly where it was going to end, but with the certainty that that was the way, she simplified the set of people into intimate characters illustrated with closed areas of solid colors within a limited range of green, brown, mustard and yellow, suggesting a silkscreen. However, in the process she realized that such a sketch lent itself better to a more ambitious project.
It was not the first time that Beatriz González had the strange idea of making a curtain as a work of art. The proposal had already been rehearsed in another context and with different intentions by Christo Javacheff (1935-2020), a conceptual artist of Bulgarian origin, who, in addition to performing his famous Wrappings (gigantic monuments wrapped with canvas and ropes), delimited geographic areas with orange curtains of astonishing proportions (Cortina en el valle, 1970-72, with an extension of 380 meters). But in the case of the Colombian painter it was, at first, to assimilate well-known works of famous impressionists to her canvas curtains.
The idea arose in 1975, during a tour of Jiménez de Quesada avenue in Bogotá, when she detected “in the window of a store, next to bottles and sandwiches, a Salvat magazine which had as a cover Lunch on the Grass, by Edouard Manet (1863), ruined by dirt and the sun. It looked like a curtain or a circus tent painted with faded acrylics. That was what came to us from the mobile and changing physiognomy of nature, so sought after by the Impressionists”, as she later recalled.
With these initial curtains of monumental size, the artist participated in the XXVIII Venice Biennale (1978), although since 1975 she had produced her first test with the Mouth curtain for a lunch (4.50 x 5.20 meters), inspired by the mentioned painting by Manet. Later, in 1978, she exhibited, along the same lines, her work Ten Meters by Renoir, which consisted of a seamless chaining of a simplified detail of Le Moulin de la Galette in solid colors and imprecise contours. The work had very special distribution characteristics, as it was sold by the meter; even an art magazine had the idea of offering its readers a square centimeter of this sly painting on a sheet of graph paper.
From there to the curtains it was just one step. The first was called the Orangerie Bathroom Curtain (2.50 x 20 meters) and was exhibited at the FIAC exhibition in Paris in 1979. It was a green plastic curtain with original designs painted with PVC material. Her work Interior decoration (screenprint on canvas, 1981), starring Turbay, was consistent with coherent parameters of artistic creation: it consists of a 2.85 meters high by 120 meters long curtain, which had to be divided into unequal parts to display it.
As for the images, it is evident that Beatriz González was not interested in exalting or disseminating the figure of President Turbay for free. If we consider that his work is part of an authentic pop modality, with Colombian roots (that is, she uses the popular elements that surround her to recreate them in local image and likeness), we must remember that from the beginning pop art derived its iconography of images and symbols typical of the communication media (photographs of characters, consumer articles, myths and social fetishes).
Let's remember Andy Warhol with his serial portraits of Marilyn Monroe and Elvis Presley, Roy Lichtenstein with his comic strips or Jasper Johns with his United States flags repeated in succession of images. Beatriz González ventures into this field within a concept that has evolved and is no longer inspired by a motive foreign to her country or an allusion to the past, but focuses on the pulsating events of Colombian politics in scenes that, in her curtain, are repeated every three meters with the monotony that personifies the protagonist of their argument.
Beatriz González's curtain was exhibited simultaneously with the scandals that arose around the person of Turbay, although there was no premeditated coincidence. To show a rumba president in the midst of the conflicts and difficulties that besiege Colombia on a daily basis is precisely to point out the incongruity of such a situation and to highlight, through an apparent joke, the state of moral prostration in which the country was - and continues to be in - since the photographs published in the press almost always showed a president in his official functions, but also a traveling, seductive, ceremonious, solemn and even devout character.
However, behind that facade, the country was falling apart victim of the laziness and incompetence of the narcoclientelism that dominated government spheres at that time. For this reason the work of Beatriz González is critical, taking advantage of humor, the most forceful and difficult of the tools that an artist can use: the political commentary that contains a subtle irony. It was not a grotesque caricature, but the careful handling of iconographic symbols that little by little have permeated our subconscious. Turbay is already a kitsch character in popular Colombian paraphernalia.
Among her most recent works, Auras Anónimas deserves to be highlighted, an intervention of the columbariums in the Central Cemetery of Bogotá, with more than eight thousand niches that represent the silhouettes of porters who carry the corpses caused by the violence in Colombia. These images are still as valid today as in 2009, when González finished printing the different matrices with the manual screen printing technique, a monument to the memory of countless anonymous victims of the armed conflict in the country.
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The Colombian artist is showing her work “Mural para fábrica socialista” at the OCA (Office for Contemporary Art) in Oslo, Norway. The exhibition aims to catalyze solidarity against global conflicts and injusticies.
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The Colombian artist is showing her work “Mural para fábrica socialista” at the OCA (Office for Contemporary Art) in Oslo, Norway. The exhibition aims to catalyze solidarity against global conflicts and injusticies.
In 2018, at only 28 years of age, the National Museum of Visual Arts in Montevideo (MNAV) held a solo exhibition of her work Y todos los otros, where she reconstructs her family’s Jewish past, explores the construction of Polish identity after World War II emigration and, ultimately, creates a historical archive of a generation through printmaking, textile art and animation. Since 2015 she has been living in Europe: first she lived in Belgium, where she enjoyed a residency in the Frans Masereel Centrum’s program, and now she is in Spain, where she arrived to be part of Casa Velázquez’s residency program and where she remains.
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In 2018, at only 28 years of age, the National Museum of Visual Arts in Montevideo (MNAV) held a solo exhibition of her work Y todos los otros, where she reconstructs her family’s Jewish past, explores the construction of Polish identity after World War II emigration and, ultimately, creates a historical archive of a generation through printmaking, textile art and animation. Since 2015 she has been living in Europe: first she lived in Belgium, where she enjoyed a residency in the Frans Masereel Centrum’s program, and now she is in Spain, where she arrived to be part of Casa Velázquez’s residency program and where she remains.
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The Cuban artist has been named as the recipient of the $50,000 Pérez Prize for 2021. The award, funded by Jorge and Darlene Pérez, was announced at the annual Art of the Party fundraiser for the county’s public art museum, Pérez Art Museum Miami, also supported by the Pérez family. The event raised over $500,000 for arts education.
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Bringing together recent works by Bernardo Ortiz and Luis Roldan, the exhibition De saltos y tropiezos (Of Jumps and Stumbles) is the result of a year-long intellectual exchange between the artists. Thanks to their affinity for painting, their similar artistic pursuits and a longtime friendship, Ortíz and Roldán engage in an artistic dialogue marked by issues of confinement and the impossibility of leading a life free from temporal and spatial restrictions.
As the gallery announces exclusive worldwide representation of Villalba, it also presents the artist’s first solo exhibition since his death in 2009. Set for Art Paris 2021, the gallery will exhibit Villalbas’s 1960-1970 works under the title of Le réalisme de l’aliénation (The Realism of Alienation ) and curated by Manuel Neves.
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As the gallery announces exclusive worldwide representation of Villalba, it also presents the artist’s first solo exhibition since his death in 2009. Set for Art Paris 2021, the gallery will exhibit Villalbas’s 1960-1970 works under the title of Le réalisme de l’aliénation (The Realism of Alienation ) and curated by Manuel Neves.
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Carried out by Casas Riegner in collaboration with the 1Mira Madrid gallery, and curated by Paula Bossa, Respuestas a una época: María Teresa Hincapié 1987- 2006 (Answers to a time) is the first posthumous exhibition held in Colombia that is dedicated to the artistic practice of one of the pioneers of performance in Latin America.
Lydia Rubio was born in Havana, Cuba, with art in her bones. She comes from three generations of women painters, to be precise. "My grandmother painted every day, whenever she could," Lydia recalls. "She worked at an office but painted in the living room. The whole family lived together, so I used to see her painting there and was trained visually. My cousin, everybody was drawing and painting, but I was the only one that took it to another level of development and commitment."
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Lydia Rubio was born in Havana, Cuba, with art in her bones. She comes from three generations of women painters, to be precise. "My grandmother painted every day, whenever she could," Lydia recalls. "She worked at an office but painted in the living room. The whole family lived together, so I used to see her painting there and was trained visually. My cousin, everybody was drawing and painting, but I was the only one that took it to another level of development and commitment."
The De Pont Museum in the Netherlands has acquired an assemble of works by González, seminal figure in Latin American art. The works address the themes of migration, disappearance and collective grief.
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The De Pont Museum in the Netherlands has acquired an assemble of works by González, seminal figure in Latin American art. The works address the themes of migration, disappearance and collective grief.
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In 2018, at only 28 years of age, the National Museum of Visual Arts in Montevideo (MNAV) held a solo exhibition of her work Y todos los otros, where she reconstructs her family’s Jewish past, explores the construction of Polish identity after World War II emigration and, ultimately, creates a historical archive of a generation through printmaking, textile art and animation. Since 2015 she has been living in Europe: first she lived in Belgium, where she enjoyed a residency in the Frans Masereel Centrum’s program, and now she is in Spain, where she arrived to be part of Casa Velázquez’s residency program and where she remains.
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In 2018, at only 28 years of age, the National Museum of Visual Arts in Montevideo (MNAV) held a solo exhibition of her work Y todos los otros, where she reconstructs her family’s Jewish past, explores the construction of Polish identity after World War II emigration and, ultimately, creates a historical archive of a generation through printmaking, textile art and animation. Since 2015 she has been living in Europe: first she lived in Belgium, where she enjoyed a residency in the Frans Masereel Centrum’s program, and now she is in Spain, where she arrived to be part of Casa Velázquez’s residency program and where she remains.
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The narratives of the Brazilian avant-garde in the arts go through an intense revision. Due to the centenary of the Week of 22, the emblematic event that in the thesis launched the foundations of modernity through different languagesand fields of activity in the country, three exhibitions currently on the billboard rotate and bring new elements from the production of two icons of Modernism in Visual Arts - Tarsila Do Amaral (1886-1973) and Di Cavalcanti (1897-1976). In addition, they cast more emphatic lights on three not-so-famous characters within the journeys within the movement and the modernist winds: Antonio Gomide (1895-1967), John Graz (1891-1980) and Regina Gomide-Graz (1897-1973) .
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The Colombian artist presents a selection of sculptures that flesh out her vision in accordance with what is currently happening: What happens when a space of clarity becomes a vitiated, expressionless space? Absurdity is negative. Is negativity always the end? Or is it rather a path to make way to the new? This is a personal thought process that has become matter; rather than purely conceptual, “Tierra Vieja / Tierra Nueva” is a risk, a medication, a vulnerability opened to the rebirth of pleasure and freedom.
LYDIA AZOUT EXHIBITS “OLD EARTH-NEW EARTH” IN DOT FIFTYONE GALLERY MIAMI
The Colombian artist presents a selection of sculptures that flesh out her vision in accordance with what is currently happening: What happens when a space of clarity becomes a vitiated, expressionless space? Absurdity is negative. Is negativity always the end? Or is it rather a path to make way to the new? This is a personal thought process that has become matter; rather than purely conceptual, “Tierra Vieja / Tierra Nueva” is a risk, a medication, a vulnerability opened to the rebirth of pleasure and freedom.
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The Brazilian artist Regina Silveira has a long career in which she tries to explore different notions of reality through her work with lights, shadows and distortions. In her five decades of artistic work, she has dealt with themes and explored media that tie in with her idea. "I choose the medium that best solves my intentions, and then I look for the skills and technical resources to make the work feasible, focusing on being a non-specialist in any medium." The artist exhibited in Europe and the American continent, much of her work is in public collections such as the Reina Sofía museum.
Until September 15, the call is open to Colombian or foreign artists with more than 15 years of experience to present an artistic intervention in the Fragmentos space, created by Doris Salcedo. The award consists of one hundred and sixty million Colombian pesos ($160,000,000 m/cte).
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Until September 15, the call is open to Colombian or foreign artists with more than 15 years of experience to present an artistic intervention in the Fragmentos space, created by Doris Salcedo. The award consists of one hundred and sixty million Colombian pesos ($160,000,000 m/cte).
On the artist's centenary, the Ascaso Art Gallery of Caracas will present, together with the Otero-Pardo Foundation, an exhibition entitled “Contemplaciones y Memorias” (Contemplations and Memories), which under the curatorship of Bélgica Rodríguez and the museography of Rafael Santana, brings together a selection of paintings and serigraphs made by the outstanding creator.
MERCEDES PARDO IS HONORED ON THE 100TH ANNIVERSARY OF HER BIRTH AT THE ASCASO ART GALLERY
On the artist's centenary, the Ascaso Art Gallery of Caracas will present, together with the Otero-Pardo Foundation, an exhibition entitled “Contemplaciones y Memorias” (Contemplations and Memories), which under the curatorship of Bélgica Rodríguez and the museography of Rafael Santana, brings together a selection of paintings and serigraphs made by the outstanding creator.
Carried out by Casas Riegner in collaboration with the 1Mira Madrid gallery, and curated by Paula Bossa, Respuestas a una época: María Teresa Hincapié 1987- 2006 (Answers to a time) is the first posthumous exhibition held in Colombia that is dedicated to the artistic practice of one of the pioneers of performance in Latin America.
ANSWERS TO A TIME: MARÍA TERESA HINCAPIÉ 1987- 2006
Carried out by Casas Riegner in collaboration with the 1Mira Madrid gallery, and curated by Paula Bossa, Respuestas a una época: María Teresa Hincapié 1987- 2006 (Answers to a time) is the first posthumous exhibition held in Colombia that is dedicated to the artistic practice of one of the pioneers of performance in Latin America.
Lydia Rubio was born in Havana, Cuba, with art in her bones. She comes from three generations of women painters, to be precise. "My grandmother painted every day, whenever she could," Lydia recalls. "She worked at an office but painted in the living room. The whole family lived together, so I used to see her painting there and was trained visually. My cousin, everybody was drawing and painting, but I was the only one that took it to another level of development and commitment."
LYDIA RUBIO: THE ARTIST IN ARCADIA
Lydia Rubio was born in Havana, Cuba, with art in her bones. She comes from three generations of women painters, to be precise. "My grandmother painted every day, whenever she could," Lydia recalls. "She worked at an office but painted in the living room. The whole family lived together, so I used to see her painting there and was trained visually. My cousin, everybody was drawing and painting, but I was the only one that took it to another level of development and commitment."
The De Pont Museum in the Netherlands has acquired an assemble of works by González, seminal figure in Latin American art. The works address the themes of migration, disappearance and collective grief.
DE PONT MUSEUM ACQUIRES WORKS BY COLOMBIAN ARTIST BEATRIZ GONZÁLEZ
The De Pont Museum in the Netherlands has acquired an assemble of works by González, seminal figure in Latin American art. The works address the themes of migration, disappearance and collective grief.
The Colombian artist is showing her work “Mural para fábrica socialista” at the OCA (Office for Contemporary Art) in Oslo, Norway. The exhibition aims to catalyze solidarity against global conflicts and injusticies.
BEATRIZ GONZÁLEZ EXHIBITS IN NORWAY - “ACTIONS FOR ART AND SOLIDARITY”
The Colombian artist is showing her work “Mural para fábrica socialista” at the OCA (Office for Contemporary Art) in Oslo, Norway. The exhibition aims to catalyze solidarity against global conflicts and injusticies.
In 2018, at only 28 years of age, the National Museum of Visual Arts in Montevideo (MNAV) held a solo exhibition of her work Y todos los otros, where she reconstructs her family’s Jewish past, explores the construction of Polish identity after World War II emigration and, ultimately, creates a historical archive of a generation through printmaking, textile art and animation. Since 2015 she has been living in Europe: first she lived in Belgium, where she enjoyed a residency in the Frans Masereel Centrum’s program, and now she is in Spain, where she arrived to be part of Casa Velázquez’s residency program and where she remains.
RETHINKING HISTORY THROUGH THE LENS OF LANGUAGE: AN INTERVIEW WITH ELIÁN STOLARSKY
In 2018, at only 28 years of age, the National Museum of Visual Arts in Montevideo (MNAV) held a solo exhibition of her work Y todos los otros, where she reconstructs her family’s Jewish past, explores the construction of Polish identity after World War II emigration and, ultimately, creates a historical archive of a generation through printmaking, textile art and animation. Since 2015 she has been living in Europe: first she lived in Belgium, where she enjoyed a residency in the Frans Masereel Centrum’s program, and now she is in Spain, where she arrived to be part of Casa Velázquez’s residency program and where she remains.
The Cuban artist has been named as the recipient of the $50,000 Pérez Prize for 2021. The award, funded by Jorge and Darlene Pérez, was announced at the annual Art of the Party fundraiser for the county’s public art museum, Pérez Art Museum Miami, also supported by the Pérez family. The event raised over $500,000 for arts education.
MARÍA MAGDALENA CAMPOS-PONS RECIPIENT OF THE PÉREZ PRIZE 2021
The Cuban artist has been named as the recipient of the $50,000 Pérez Prize for 2021. The award, funded by Jorge and Darlene Pérez, was announced at the annual Art of the Party fundraiser for the county’s public art museum, Pérez Art Museum Miami, also supported by the Pérez family. The event raised over $500,000 for arts education.
Bringing together recent works by Bernardo Ortiz and Luis Roldan, the exhibition De saltos y tropiezos (Of Jumps and Stumbles) is the result of a year-long intellectual exchange between the artists. Thanks to their affinity for painting, their similar artistic pursuits and a longtime friendship, Ortíz and Roldán engage in an artistic dialogue marked by issues of confinement and the impossibility of leading a life free from temporal and spatial restrictions.
DE SALTOS Y TROPIEZOS – LUIS ROLDÁN AND BERNARDO ORTÍZ EXHIBIT AT CASAS RIEGNER
Bringing together recent works by Bernardo Ortiz and Luis Roldan, the exhibition De saltos y tropiezos (Of Jumps and Stumbles) is the result of a year-long intellectual exchange between the artists. Thanks to their affinity for painting, their similar artistic pursuits and a longtime friendship, Ortíz and Roldán engage in an artistic dialogue marked by issues of confinement and the impossibility of leading a life free from temporal and spatial restrictions.
As the gallery announces exclusive worldwide representation of Villalba, it also presents the artist’s first solo exhibition since his death in 2009. Set for Art Paris 2021, the gallery will exhibit Villalbas’s 1960-1970 works under the title of Le réalisme de l’aliénation (The Realism of Alienation ) and curated by Manuel Neves.
SAMMER GALLERY - VIRGILIO VILLALBA’S ESTATE REPRESENTATION AND ART PARIS EXHIBITION
As the gallery announces exclusive worldwide representation of Villalba, it also presents the artist’s first solo exhibition since his death in 2009. Set for Art Paris 2021, the gallery will exhibit Villalbas’s 1960-1970 works under the title of Le réalisme de l’aliénation (The Realism of Alienation ) and curated by Manuel Neves.
The narratives of the Brazilian avant-garde in the arts go through an intense revision. Due to the centenary of the Week of 22, the emblematic event that in the thesis launched the foundations of modernity through different languagesand fields of activity in the country, three exhibitions currently on the billboard rotate and bring new elements from the production of two icons of Modernism in Visual Arts - Tarsila Do Amaral (1886-1973) and Di Cavalcanti (1897-1976). In addition, they cast more emphatic lights on three not-so-famous characters within the journeys within the movement and the modernist winds: Antonio Gomide (1895-1967), John Graz (1891-1980) and Regina Gomide-Graz (1897-1973) .
MODERNITIES IN MOVEMENT - TARSILA, DI CAVALCANTI AND THE GOMIDE-GRAZ FAMILY
The narratives of the Brazilian avant-garde in the arts go through an intense revision. Due to the centenary of the Week of 22, the emblematic event that in the thesis launched the foundations of modernity through different languagesand fields of activity in the country, three exhibitions currently on the billboard rotate and bring new elements from the production of two icons of Modernism in Visual Arts - Tarsila Do Amaral (1886-1973) and Di Cavalcanti (1897-1976). In addition, they cast more emphatic lights on three not-so-famous characters within the journeys within the movement and the modernist winds: Antonio Gomide (1895-1967), John Graz (1891-1980) and Regina Gomide-Graz (1897-1973) .
This solo show, by one of the most recognized contemporary artists in Colombia, is made up of unseen works made specifically for this project. In Visceral, Luz Lizarazo (Bogotá, 1966) consolidates her work around the body as a living territory in which all forms of memory are registered. The selection of works exhibited serves as a prelude to the retrospective that she will have from August in the Museum of Modern Art of Bogotá (MamBo), curated by the Italian Eugenio Viola, the museum’s chief curator.
LUZ LIZARAZO EXHIBITS “VISCERAL” IN LOKKUS GALLERY OF MEDELLÍN
This solo show, by one of the most recognized contemporary artists in Colombia, is made up of unseen works made specifically for this project. In Visceral, Luz Lizarazo (Bogotá, 1966) consolidates her work around the body as a living territory in which all forms of memory are registered. The selection of works exhibited serves as a prelude to the retrospective that she will have from August in the Museum of Modern Art of Bogotá (MamBo), curated by the Italian Eugenio Viola, the museum’s chief curator.
The Colombian artist presents a selection of sculptures that flesh out her vision in accordance with what is currently happening: What happens when a space of clarity becomes a vitiated, expressionless space? Absurdity is negative. Is negativity always the end? Or is it rather a path to make way to the new? This is a personal thought process that has become matter; rather than purely conceptual, “Tierra Vieja / Tierra Nueva” is a risk, a medication, a vulnerability opened to the rebirth of pleasure and freedom.
LYDIA AZOUT EXHIBITS “OLD EARTH-NEW EARTH” IN DOT FIFTYONE GALLERY MIAMI
The Colombian artist presents a selection of sculptures that flesh out her vision in accordance with what is currently happening: What happens when a space of clarity becomes a vitiated, expressionless space? Absurdity is negative. Is negativity always the end? Or is it rather a path to make way to the new? This is a personal thought process that has become matter; rather than purely conceptual, “Tierra Vieja / Tierra Nueva” is a risk, a medication, a vulnerability opened to the rebirth of pleasure and freedom.
The Brazilian artist Regina Silveira has a long career in which she tries to explore different notions of reality through her work with lights, shadows and distortions. In her five decades of artistic work, she has dealt with themes and explored media that tie in with her idea. "I choose the medium that best solves my intentions, and then I look for the skills and technical resources to make the work feasible, focusing on being a non-specialist in any medium." The artist exhibited in Europe and the American continent, much of her work is in public collections such as the Reina Sofía museum.
REGINA SILVEIRA: “I ALWAYS UNDERSTOOD THAT EACH REPRESENTATION OF THE REAL IS PURE ARTIFICE, CODED AND CULTURALIZED”
The Brazilian artist Regina Silveira has a long career in which she tries to explore different notions of reality through her work with lights, shadows and distortions. In her five decades of artistic work, she has dealt with themes and explored media that tie in with her idea. "I choose the medium that best solves my intentions, and then I look for the skills and technical resources to make the work feasible, focusing on being a non-specialist in any medium." The artist exhibited in Europe and the American continent, much of her work is in public collections such as the Reina Sofía museum.
Until September 15, the call is open to Colombian or foreign artists with more than 15 years of experience to present an artistic intervention in the Fragmentos space, created by Doris Salcedo. The award consists of one hundred and sixty million Colombian pesos ($160,000,000 m/cte).
OPEN CALL FOR AN ARTISTIC INTERVENTION AT FRAGMENTOS, A SPACE FOR ART AND MEMORY
Until September 15, the call is open to Colombian or foreign artists with more than 15 years of experience to present an artistic intervention in the Fragmentos space, created by Doris Salcedo. The award consists of one hundred and sixty million Colombian pesos ($160,000,000 m/cte).
On the artist's centenary, the Ascaso Art Gallery of Caracas will present, together with the Otero-Pardo Foundation, an exhibition entitled “Contemplaciones y Memorias” (Contemplations and Memories), which under the curatorship of Bélgica Rodríguez and the museography of Rafael Santana, brings together a selection of paintings and serigraphs made by the outstanding creator.
MERCEDES PARDO IS HONORED ON THE 100TH ANNIVERSARY OF HER BIRTH AT THE ASCASO ART GALLERY
On the artist's centenary, the Ascaso Art Gallery of Caracas will present, together with the Otero-Pardo Foundation, an exhibition entitled “Contemplaciones y Memorias” (Contemplations and Memories), which under the curatorship of Bélgica Rodríguez and the museography of Rafael Santana, brings together a selection of paintings and serigraphs made by the outstanding creator.
Carried out by Casas Riegner in collaboration with the 1Mira Madrid gallery, and curated by Paula Bossa, Respuestas a una época: María Teresa Hincapié 1987- 2006 (Answers to a time) is the first posthumous exhibition held in Colombia that is dedicated to the artistic practice of one of the pioneers of performance in Latin America.
ANSWERS TO A TIME: MARÍA TERESA HINCAPIÉ 1987- 2006
Carried out by Casas Riegner in collaboration with the 1Mira Madrid gallery, and curated by Paula Bossa, Respuestas a una época: María Teresa Hincapié 1987- 2006 (Answers to a time) is the first posthumous exhibition held in Colombia that is dedicated to the artistic practice of one of the pioneers of performance in Latin America.
Lydia Rubio was born in Havana, Cuba, with art in her bones. She comes from three generations of women painters, to be precise. "My grandmother painted every day, whenever she could," Lydia recalls. "She worked at an office but painted in the living room. The whole family lived together, so I used to see her painting there and was trained visually. My cousin, everybody was drawing and painting, but I was the only one that took it to another level of development and commitment."
LYDIA RUBIO: THE ARTIST IN ARCADIA
Lydia Rubio was born in Havana, Cuba, with art in her bones. She comes from three generations of women painters, to be precise. "My grandmother painted every day, whenever she could," Lydia recalls. "She worked at an office but painted in the living room. The whole family lived together, so I used to see her painting there and was trained visually. My cousin, everybody was drawing and painting, but I was the only one that took it to another level of development and commitment."
The De Pont Museum in the Netherlands has acquired an assemble of works by González, seminal figure in Latin American art. The works address the themes of migration, disappearance and collective grief.
DE PONT MUSEUM ACQUIRES WORKS BY COLOMBIAN ARTIST BEATRIZ GONZÁLEZ
The De Pont Museum in the Netherlands has acquired an assemble of works by González, seminal figure in Latin American art. The works address the themes of migration, disappearance and collective grief.
The Colombian artist is showing her work “Mural para fábrica socialista” at the OCA (Office for Contemporary Art) in Oslo, Norway. The exhibition aims to catalyze solidarity against global conflicts and injusticies.
BEATRIZ GONZÁLEZ EXHIBITS IN NORWAY - “ACTIONS FOR ART AND SOLIDARITY”
The Colombian artist is showing her work “Mural para fábrica socialista” at the OCA (Office for Contemporary Art) in Oslo, Norway. The exhibition aims to catalyze solidarity against global conflicts and injusticies.
In 2018, at only 28 years of age, the National Museum of Visual Arts in Montevideo (MNAV) held a solo exhibition of her work Y todos los otros, where she reconstructs her family’s Jewish past, explores the construction of Polish identity after World War II emigration and, ultimately, creates a historical archive of a generation through printmaking, textile art and animation. Since 2015 she has been living in Europe: first she lived in Belgium, where she enjoyed a residency in the Frans Masereel Centrum’s program, and now she is in Spain, where she arrived to be part of Casa Velázquez’s residency program and where she remains.
RETHINKING HISTORY THROUGH THE LENS OF LANGUAGE: AN INTERVIEW WITH ELIÁN STOLARSKY
In 2018, at only 28 years of age, the National Museum of Visual Arts in Montevideo (MNAV) held a solo exhibition of her work Y todos los otros, where she reconstructs her family’s Jewish past, explores the construction of Polish identity after World War II emigration and, ultimately, creates a historical archive of a generation through printmaking, textile art and animation. Since 2015 she has been living in Europe: first she lived in Belgium, where she enjoyed a residency in the Frans Masereel Centrum’s program, and now she is in Spain, where she arrived to be part of Casa Velázquez’s residency program and where she remains.
The Cuban artist has been named as the recipient of the $50,000 Pérez Prize for 2021. The award, funded by Jorge and Darlene Pérez, was announced at the annual Art of the Party fundraiser for the county’s public art museum, Pérez Art Museum Miami, also supported by the Pérez family. The event raised over $500,000 for arts education.
MARÍA MAGDALENA CAMPOS-PONS RECIPIENT OF THE PÉREZ PRIZE 2021
The Cuban artist has been named as the recipient of the $50,000 Pérez Prize for 2021. The award, funded by Jorge and Darlene Pérez, was announced at the annual Art of the Party fundraiser for the county’s public art museum, Pérez Art Museum Miami, also supported by the Pérez family. The event raised over $500,000 for arts education.
Bringing together recent works by Bernardo Ortiz and Luis Roldan, the exhibition De saltos y tropiezos (Of Jumps and Stumbles) is the result of a year-long intellectual exchange between the artists. Thanks to their affinity for painting, their similar artistic pursuits and a longtime friendship, Ortíz and Roldán engage in an artistic dialogue marked by issues of confinement and the impossibility of leading a life free from temporal and spatial restrictions.
DE SALTOS Y TROPIEZOS – LUIS ROLDÁN AND BERNARDO ORTÍZ EXHIBIT AT CASAS RIEGNER
Bringing together recent works by Bernardo Ortiz and Luis Roldan, the exhibition De saltos y tropiezos (Of Jumps and Stumbles) is the result of a year-long intellectual exchange between the artists. Thanks to their affinity for painting, their similar artistic pursuits and a longtime friendship, Ortíz and Roldán engage in an artistic dialogue marked by issues of confinement and the impossibility of leading a life free from temporal and spatial restrictions.
As the gallery announces exclusive worldwide representation of Villalba, it also presents the artist’s first solo exhibition since his death in 2009. Set for Art Paris 2021, the gallery will exhibit Villalbas’s 1960-1970 works under the title of Le réalisme de l’aliénation (The Realism of Alienation ) and curated by Manuel Neves.
SAMMER GALLERY - VIRGILIO VILLALBA’S ESTATE REPRESENTATION AND ART PARIS EXHIBITION
As the gallery announces exclusive worldwide representation of Villalba, it also presents the artist’s first solo exhibition since his death in 2009. Set for Art Paris 2021, the gallery will exhibit Villalbas’s 1960-1970 works under the title of Le réalisme de l’aliénation (The Realism of Alienation ) and curated by Manuel Neves.
The narratives of the Brazilian avant-garde in the arts go through an intense revision. Due to the centenary of the Week of 22, the emblematic event that in the thesis launched the foundations of modernity through different languagesand fields of activity in the country, three exhibitions currently on the billboard rotate and bring new elements from the production of two icons of Modernism in Visual Arts - Tarsila Do Amaral (1886-1973) and Di Cavalcanti (1897-1976). In addition, they cast more emphatic lights on three not-so-famous characters within the journeys within the movement and the modernist winds: Antonio Gomide (1895-1967), John Graz (1891-1980) and Regina Gomide-Graz (1897-1973) .
MODERNITIES IN MOVEMENT - TARSILA, DI CAVALCANTI AND THE GOMIDE-GRAZ FAMILY
The narratives of the Brazilian avant-garde in the arts go through an intense revision. Due to the centenary of the Week of 22, the emblematic event that in the thesis launched the foundations of modernity through different languagesand fields of activity in the country, three exhibitions currently on the billboard rotate and bring new elements from the production of two icons of Modernism in Visual Arts - Tarsila Do Amaral (1886-1973) and Di Cavalcanti (1897-1976). In addition, they cast more emphatic lights on three not-so-famous characters within the journeys within the movement and the modernist winds: Antonio Gomide (1895-1967), John Graz (1891-1980) and Regina Gomide-Graz (1897-1973) .
This solo show, by one of the most recognized contemporary artists in Colombia, is made up of unseen works made specifically for this project. In Visceral, Luz Lizarazo (Bogotá, 1966) consolidates her work around the body as a living territory in which all forms of memory are registered. The selection of works exhibited serves as a prelude to the retrospective that she will have from August in the Museum of Modern Art of Bogotá (MamBo), curated by the Italian Eugenio Viola, the museum’s chief curator.
LUZ LIZARAZO EXHIBITS “VISCERAL” IN LOKKUS GALLERY OF MEDELLÍN
This solo show, by one of the most recognized contemporary artists in Colombia, is made up of unseen works made specifically for this project. In Visceral, Luz Lizarazo (Bogotá, 1966) consolidates her work around the body as a living territory in which all forms of memory are registered. The selection of works exhibited serves as a prelude to the retrospective that she will have from August in the Museum of Modern Art of Bogotá (MamBo), curated by the Italian Eugenio Viola, the museum’s chief curator.
The Colombian artist presents a selection of sculptures that flesh out her vision in accordance with what is currently happening: What happens when a space of clarity becomes a vitiated, expressionless space? Absurdity is negative. Is negativity always the end? Or is it rather a path to make way to the new? This is a personal thought process that has become matter; rather than purely conceptual, “Tierra Vieja / Tierra Nueva” is a risk, a medication, a vulnerability opened to the rebirth of pleasure and freedom.
LYDIA AZOUT EXHIBITS “OLD EARTH-NEW EARTH” IN DOT FIFTYONE GALLERY MIAMI
The Colombian artist presents a selection of sculptures that flesh out her vision in accordance with what is currently happening: What happens when a space of clarity becomes a vitiated, expressionless space? Absurdity is negative. Is negativity always the end? Or is it rather a path to make way to the new? This is a personal thought process that has become matter; rather than purely conceptual, “Tierra Vieja / Tierra Nueva” is a risk, a medication, a vulnerability opened to the rebirth of pleasure and freedom.
The Brazilian artist Regina Silveira has a long career in which she tries to explore different notions of reality through her work with lights, shadows and distortions. In her five decades of artistic work, she has dealt with themes and explored media that tie in with her idea. "I choose the medium that best solves my intentions, and then I look for the skills and technical resources to make the work feasible, focusing on being a non-specialist in any medium." The artist exhibited in Europe and the American continent, much of her work is in public collections such as the Reina Sofía museum.
REGINA SILVEIRA: “I ALWAYS UNDERSTOOD THAT EACH REPRESENTATION OF THE REAL IS PURE ARTIFICE, CODED AND CULTURALIZED”
The Brazilian artist Regina Silveira has a long career in which she tries to explore different notions of reality through her work with lights, shadows and distortions. In her five decades of artistic work, she has dealt with themes and explored media that tie in with her idea. "I choose the medium that best solves my intentions, and then I look for the skills and technical resources to make the work feasible, focusing on being a non-specialist in any medium." The artist exhibited in Europe and the American continent, much of her work is in public collections such as the Reina Sofía museum.
Until September 15, the call is open to Colombian or foreign artists with more than 15 years of experience to present an artistic intervention in the Fragmentos space, created by Doris Salcedo. The award consists of one hundred and sixty million Colombian pesos ($160,000,000 m/cte).
OPEN CALL FOR AN ARTISTIC INTERVENTION AT FRAGMENTOS, A SPACE FOR ART AND MEMORY
Until September 15, the call is open to Colombian or foreign artists with more than 15 years of experience to present an artistic intervention in the Fragmentos space, created by Doris Salcedo. The award consists of one hundred and sixty million Colombian pesos ($160,000,000 m/cte).
On the artist's centenary, the Ascaso Art Gallery of Caracas will present, together with the Otero-Pardo Foundation, an exhibition entitled “Contemplaciones y Memorias” (Contemplations and Memories), which under the curatorship of Bélgica Rodríguez and the museography of Rafael Santana, brings together a selection of paintings and serigraphs made by the outstanding creator.
MERCEDES PARDO IS HONORED ON THE 100TH ANNIVERSARY OF HER BIRTH AT THE ASCASO ART GALLERY
On the artist's centenary, the Ascaso Art Gallery of Caracas will present, together with the Otero-Pardo Foundation, an exhibition entitled “Contemplaciones y Memorias” (Contemplations and Memories), which under the curatorship of Bélgica Rodríguez and the museography of Rafael Santana, brings together a selection of paintings and serigraphs made by the outstanding creator.
Carried out by Casas Riegner in collaboration with the 1Mira Madrid gallery, and curated by Paula Bossa, Respuestas a una época: María Teresa Hincapié 1987- 2006 (Answers to a time) is the first posthumous exhibition held in Colombia that is dedicated to the artistic practice of one of the pioneers of performance in Latin America.
ANSWERS TO A TIME: MARÍA TERESA HINCAPIÉ 1987- 2006
Carried out by Casas Riegner in collaboration with the 1Mira Madrid gallery, and curated by Paula Bossa, Respuestas a una época: María Teresa Hincapié 1987- 2006 (Answers to a time) is the first posthumous exhibition held in Colombia that is dedicated to the artistic practice of one of the pioneers of performance in Latin America.
Lydia Rubio was born in Havana, Cuba, with art in her bones. She comes from three generations of women painters, to be precise. "My grandmother painted every day, whenever she could," Lydia recalls. "She worked at an office but painted in the living room. The whole family lived together, so I used to see her painting there and was trained visually. My cousin, everybody was drawing and painting, but I was the only one that took it to another level of development and commitment."
LYDIA RUBIO: THE ARTIST IN ARCADIA
Lydia Rubio was born in Havana, Cuba, with art in her bones. She comes from three generations of women painters, to be precise. "My grandmother painted every day, whenever she could," Lydia recalls. "She worked at an office but painted in the living room. The whole family lived together, so I used to see her painting there and was trained visually. My cousin, everybody was drawing and painting, but I was the only one that took it to another level of development and commitment."
The De Pont Museum in the Netherlands has acquired an assemble of works by González, seminal figure in Latin American art. The works address the themes of migration, disappearance and collective grief.
DE PONT MUSEUM ACQUIRES WORKS BY COLOMBIAN ARTIST BEATRIZ GONZÁLEZ
The De Pont Museum in the Netherlands has acquired an assemble of works by González, seminal figure in Latin American art. The works address the themes of migration, disappearance and collective grief.
The Colombian artist is showing her work “Mural para fábrica socialista” at the OCA (Office for Contemporary Art) in Oslo, Norway. The exhibition aims to catalyze solidarity against global conflicts and injusticies.
BEATRIZ GONZÁLEZ EXHIBITS IN NORWAY - “ACTIONS FOR ART AND SOLIDARITY”
The Colombian artist is showing her work “Mural para fábrica socialista” at the OCA (Office for Contemporary Art) in Oslo, Norway. The exhibition aims to catalyze solidarity against global conflicts and injusticies.
In 2018, at only 28 years of age, the National Museum of Visual Arts in Montevideo (MNAV) held a solo exhibition of her work Y todos los otros, where she reconstructs her family’s Jewish past, explores the construction of Polish identity after World War II emigration and, ultimately, creates a historical archive of a generation through printmaking, textile art and animation. Since 2015 she has been living in Europe: first she lived in Belgium, where she enjoyed a residency in the Frans Masereel Centrum’s program, and now she is in Spain, where she arrived to be part of Casa Velázquez’s residency program and where she remains.
RETHINKING HISTORY THROUGH THE LENS OF LANGUAGE: AN INTERVIEW WITH ELIÁN STOLARSKY
In 2018, at only 28 years of age, the National Museum of Visual Arts in Montevideo (MNAV) held a solo exhibition of her work Y todos los otros, where she reconstructs her family’s Jewish past, explores the construction of Polish identity after World War II emigration and, ultimately, creates a historical archive of a generation through printmaking, textile art and animation. Since 2015 she has been living in Europe: first she lived in Belgium, where she enjoyed a residency in the Frans Masereel Centrum’s program, and now she is in Spain, where she arrived to be part of Casa Velázquez’s residency program and where she remains.
The Cuban artist has been named as the recipient of the $50,000 Pérez Prize for 2021. The award, funded by Jorge and Darlene Pérez, was announced at the annual Art of the Party fundraiser for the county’s public art museum, Pérez Art Museum Miami, also supported by the Pérez family. The event raised over $500,000 for arts education.
MARÍA MAGDALENA CAMPOS-PONS RECIPIENT OF THE PÉREZ PRIZE 2021
The Cuban artist has been named as the recipient of the $50,000 Pérez Prize for 2021. The award, funded by Jorge and Darlene Pérez, was announced at the annual Art of the Party fundraiser for the county’s public art museum, Pérez Art Museum Miami, also supported by the Pérez family. The event raised over $500,000 for arts education.
Bringing together recent works by Bernardo Ortiz and Luis Roldan, the exhibition De saltos y tropiezos (Of Jumps and Stumbles) is the result of a year-long intellectual exchange between the artists. Thanks to their affinity for painting, their similar artistic pursuits and a longtime friendship, Ortíz and Roldán engage in an artistic dialogue marked by issues of confinement and the impossibility of leading a life free from temporal and spatial restrictions.
DE SALTOS Y TROPIEZOS – LUIS ROLDÁN AND BERNARDO ORTÍZ EXHIBIT AT CASAS RIEGNER
Bringing together recent works by Bernardo Ortiz and Luis Roldan, the exhibition De saltos y tropiezos (Of Jumps and Stumbles) is the result of a year-long intellectual exchange between the artists. Thanks to their affinity for painting, their similar artistic pursuits and a longtime friendship, Ortíz and Roldán engage in an artistic dialogue marked by issues of confinement and the impossibility of leading a life free from temporal and spatial restrictions.
As the gallery announces exclusive worldwide representation of Villalba, it also presents the artist’s first solo exhibition since his death in 2009. Set for Art Paris 2021, the gallery will exhibit Villalbas’s 1960-1970 works under the title of Le réalisme de l’aliénation (The Realism of Alienation ) and curated by Manuel Neves.
SAMMER GALLERY - VIRGILIO VILLALBA’S ESTATE REPRESENTATION AND ART PARIS EXHIBITION
As the gallery announces exclusive worldwide representation of Villalba, it also presents the artist’s first solo exhibition since his death in 2009. Set for Art Paris 2021, the gallery will exhibit Villalbas’s 1960-1970 works under the title of Le réalisme de l’aliénation (The Realism of Alienation ) and curated by Manuel Neves.
The narratives of the Brazilian avant-garde in the arts go through an intense revision. Due to the centenary of the Week of 22, the emblematic event that in the thesis launched the foundations of modernity through different languagesand fields of activity in the country, three exhibitions currently on the billboard rotate and bring new elements from the production of two icons of Modernism in Visual Arts - Tarsila Do Amaral (1886-1973) and Di Cavalcanti (1897-1976). In addition, they cast more emphatic lights on three not-so-famous characters within the journeys within the movement and the modernist winds: Antonio Gomide (1895-1967), John Graz (1891-1980) and Regina Gomide-Graz (1897-1973) .
MODERNITIES IN MOVEMENT - TARSILA, DI CAVALCANTI AND THE GOMIDE-GRAZ FAMILY
The narratives of the Brazilian avant-garde in the arts go through an intense revision. Due to the centenary of the Week of 22, the emblematic event that in the thesis launched the foundations of modernity through different languagesand fields of activity in the country, three exhibitions currently on the billboard rotate and bring new elements from the production of two icons of Modernism in Visual Arts - Tarsila Do Amaral (1886-1973) and Di Cavalcanti (1897-1976). In addition, they cast more emphatic lights on three not-so-famous characters within the journeys within the movement and the modernist winds: Antonio Gomide (1895-1967), John Graz (1891-1980) and Regina Gomide-Graz (1897-1973) .
This solo show, by one of the most recognized contemporary artists in Colombia, is made up of unseen works made specifically for this project. In Visceral, Luz Lizarazo (Bogotá, 1966) consolidates her work around the body as a living territory in which all forms of memory are registered. The selection of works exhibited serves as a prelude to the retrospective that she will have from August in the Museum of Modern Art of Bogotá (MamBo), curated by the Italian Eugenio Viola, the museum’s chief curator.
LUZ LIZARAZO EXHIBITS “VISCERAL” IN LOKKUS GALLERY OF MEDELLÍN
This solo show, by one of the most recognized contemporary artists in Colombia, is made up of unseen works made specifically for this project. In Visceral, Luz Lizarazo (Bogotá, 1966) consolidates her work around the body as a living territory in which all forms of memory are registered. The selection of works exhibited serves as a prelude to the retrospective that she will have from August in the Museum of Modern Art of Bogotá (MamBo), curated by the Italian Eugenio Viola, the museum’s chief curator.
The Colombian artist presents a selection of sculptures that flesh out her vision in accordance with what is currently happening: What happens when a space of clarity becomes a vitiated, expressionless space? Absurdity is negative. Is negativity always the end? Or is it rather a path to make way to the new? This is a personal thought process that has become matter; rather than purely conceptual, “Tierra Vieja / Tierra Nueva” is a risk, a medication, a vulnerability opened to the rebirth of pleasure and freedom.
LYDIA AZOUT EXHIBITS “OLD EARTH-NEW EARTH” IN DOT FIFTYONE GALLERY MIAMI
The Colombian artist presents a selection of sculptures that flesh out her vision in accordance with what is currently happening: What happens when a space of clarity becomes a vitiated, expressionless space? Absurdity is negative. Is negativity always the end? Or is it rather a path to make way to the new? This is a personal thought process that has become matter; rather than purely conceptual, “Tierra Vieja / Tierra Nueva” is a risk, a medication, a vulnerability opened to the rebirth of pleasure and freedom.
The Brazilian artist Regina Silveira has a long career in which she tries to explore different notions of reality through her work with lights, shadows and distortions. In her five decades of artistic work, she has dealt with themes and explored media that tie in with her idea. "I choose the medium that best solves my intentions, and then I look for the skills and technical resources to make the work feasible, focusing on being a non-specialist in any medium." The artist exhibited in Europe and the American continent, much of her work is in public collections such as the Reina Sofía museum.
REGINA SILVEIRA: “I ALWAYS UNDERSTOOD THAT EACH REPRESENTATION OF THE REAL IS PURE ARTIFICE, CODED AND CULTURALIZED”
The Brazilian artist Regina Silveira has a long career in which she tries to explore different notions of reality through her work with lights, shadows and distortions. In her five decades of artistic work, she has dealt with themes and explored media that tie in with her idea. "I choose the medium that best solves my intentions, and then I look for the skills and technical resources to make the work feasible, focusing on being a non-specialist in any medium." The artist exhibited in Europe and the American continent, much of her work is in public collections such as the Reina Sofía museum.
Until September 15, the call is open to Colombian or foreign artists with more than 15 years of experience to present an artistic intervention in the Fragmentos space, created by Doris Salcedo. The award consists of one hundred and sixty million Colombian pesos ($160,000,000 m/cte).
OPEN CALL FOR AN ARTISTIC INTERVENTION AT FRAGMENTOS, A SPACE FOR ART AND MEMORY
Until September 15, the call is open to Colombian or foreign artists with more than 15 years of experience to present an artistic intervention in the Fragmentos space, created by Doris Salcedo. The award consists of one hundred and sixty million Colombian pesos ($160,000,000 m/cte).
On the artist's centenary, the Ascaso Art Gallery of Caracas will present, together with the Otero-Pardo Foundation, an exhibition entitled “Contemplaciones y Memorias” (Contemplations and Memories), which under the curatorship of Bélgica Rodríguez and the museography of Rafael Santana, brings together a selection of paintings and serigraphs made by the outstanding creator.
MERCEDES PARDO IS HONORED ON THE 100TH ANNIVERSARY OF HER BIRTH AT THE ASCASO ART GALLERY
On the artist's centenary, the Ascaso Art Gallery of Caracas will present, together with the Otero-Pardo Foundation, an exhibition entitled “Contemplaciones y Memorias” (Contemplations and Memories), which under the curatorship of Bélgica Rodríguez and the museography of Rafael Santana, brings together a selection of paintings and serigraphs made by the outstanding creator.
Carried out by Casas Riegner in collaboration with the 1Mira Madrid gallery, and curated by Paula Bossa, Respuestas a una época: María Teresa Hincapié 1987- 2006 (Answers to a time) is the first posthumous exhibition held in Colombia that is dedicated to the artistic practice of one of the pioneers of performance in Latin America.
ANSWERS TO A TIME: MARÍA TERESA HINCAPIÉ 1987- 2006
Carried out by Casas Riegner in collaboration with the 1Mira Madrid gallery, and curated by Paula Bossa, Respuestas a una época: María Teresa Hincapié 1987- 2006 (Answers to a time) is the first posthumous exhibition held in Colombia that is dedicated to the artistic practice of one of the pioneers of performance in Latin America.
Lydia Rubio was born in Havana, Cuba, with art in her bones. She comes from three generations of women painters, to be precise. "My grandmother painted every day, whenever she could," Lydia recalls. "She worked at an office but painted in the living room. The whole family lived together, so I used to see her painting there and was trained visually. My cousin, everybody was drawing and painting, but I was the only one that took it to another level of development and commitment."
LYDIA RUBIO: THE ARTIST IN ARCADIA
Lydia Rubio was born in Havana, Cuba, with art in her bones. She comes from three generations of women painters, to be precise. "My grandmother painted every day, whenever she could," Lydia recalls. "She worked at an office but painted in the living room. The whole family lived together, so I used to see her painting there and was trained visually. My cousin, everybody was drawing and painting, but I was the only one that took it to another level of development and commitment."
The De Pont Museum in the Netherlands has acquired an assemble of works by González, seminal figure in Latin American art. The works address the themes of migration, disappearance and collective grief.
DE PONT MUSEUM ACQUIRES WORKS BY COLOMBIAN ARTIST BEATRIZ GONZÁLEZ
The De Pont Museum in the Netherlands has acquired an assemble of works by González, seminal figure in Latin American art. The works address the themes of migration, disappearance and collective grief.
