Art of the Americas – 2013 – Interciencia English

Art of the Americas – 2013

Milagro Serritiello, Caracas, Venezuela

Part of the work “The Landscape that We Are”, 1999
Treated/frosted iron
35 x 30 x 6 cms

Milagro Serritiello responds to the gesture, to the action of a wall that is tumbling till it is no more the image of an iron slab; it is the testimony, an almost photographic legacy o fan image of open violence, creative spasms, needed openings that appear and risk to live. The intervention to the slab is minimal…, it corresponds to a poetic of change.

Comments: Ricardo Bello / Photography: Luis Becerra, Caracas / Reproduction: Courtesy of the artist / Color separation: PubliArte.

Jonidel Mendoza, Monagas, Venezuela (1975)

Sketch, 2009
Ink on rice paper
32 x 32 cm.

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Beyond the limiting function of the frame and beyond the bi-dimensional surface, in these pieces there is only silhouettes and unfinished faces. They are creatures of evanescent appearance… The individual… is just a quasi-corporeal suggestion entailing de sign of confinement. Everything else… has disappeared, except for these imperfect figures, made with the debris of an insecure society…

Comments: Felix Suazo / Photography: Courtesy of Gallery GBG ARTS, Caracas / Reproduction: Courtesy of Gallery GBG ARTS, Caracas / Color separation: PubliArte.

Luis Millé, Caracas, Venezuela (1967).

Untitled, 2012
Assemblage of painted aluminum
40 x 20 x 30 cm aprox.

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His work resembles a reflexion about a space category that transcends the space-rigid plane of the constructivist codes, proposing a “representation of space” departing from the geometrical form that occupy it.

Comments: Bélgica Rodríguez / Photography: Courtesy of Gallery GBG ARTS, Caracas / Reproduction: Courtesy of Gallery GBG ARTS, Caracas / Color separation: PubliArte.

Paulo Castro, Palmira, Colombia,1974. Live and work in Venezuela

From de series “tensopintura” (stretched painting), 2012
Synthetic fabric and semi aniline-leather on mdf
150 x 150 x 10 cm

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El artista propone un acercamiento a lo espacial que va más allá del uso común del bastidor como soporte donde plasma su trabajo. Sus obras difieren ópticamente respecto a la espacialidad y a los ambientes, líneas y sombras que evocan, así como también a los trazos y formas que sugieren, pues las distintas escalas en su trabajo, aunque aluden aparentemente a tensiones estéticas, son plataformas fantasiosas de lonas tensadas como construcciones elásticas, con vida propia, representadas poéticamente.

Comentario: www.arteenlared.com / Fotografía: Cortesía de Galería GBG ARTS, Caracas / Reproducción: Cortesía de Galería GBG ARTS, Caracas / Separación de colores: Fotolito: PubliArte

Anna María Maiolino, Scalea, Italia, 1942. Lives in Brasil since1960.

Untitled, 1991
Ink on paper
50×70 cm

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…her work encompasses diverse art techniques and a large diversity of themes and interests… The interest of Maiolino for the most basic materials -clay or paper- is also relevant, as is the use of non-conventional techniques and procedures in producing her works. …When she draws she doesn’t use a brush, but throws drops of paint on the paper and moves it in different directions to generate the traces.

Comments: Alexandra Laudo, Fundació Antoni Tàpies / Reproduction: Courtesy Alfredo Ginocchio Galery, México / Color separation: Fotolito: PubliArte.

Beto de Volder, Buenos Aires, Argentina, 1962

458-9 Untitled 9, 2010
Acrylic on MDF
126×110 cm

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Betos’s scrolls …began with the graphite trace on paper, bound to monochromatic austerity, and acquired their own life to come out of the plane, become independent of their support and fill the space …The gesture, scroll, arabesque, fineries repeat themselves in a mirror-like manner, neat or crammed, sometimes with unexpected geometric effects, while the curve remains the basic unit.

Comments: Alicia de Arteaga / Reproduction: Courtesy Alfredo Ginocchio Galery, México / Color separation: Fotolito: PubliArte.

Asdrúbal Colmenárez, Trujillo, Venezuela, 1936

Des-Trames # 21, 2012
Mixed technique on canvas
95 x 95 cm

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In the ‘Des-Trames’ (‘un-weaves’ in Spanish) series… the traditional and the contemporary converge in the association of the plot, the weave, the ready-made, the mechanical trace of the machine and the fusion of techniques, styles and diverse materials… the artist observes an un-weaved canvas that moves its threads at the rhythm of the wind… Another of the resources that characterize this visual language is the uncompleted. In this line we find the suspended strands, the unpainted areas, the stains…, elements that create a kaleidoscope of heterogeneity.

Comments: Eduardo Planchart / Photography: Yelis Ontiveros /Reproduction: Courtesy Galería Medicci, Venezuela / Color separation: Fotolito: PubliArte.

Roberto Duarte, Buenos Aires Province , Argentina, 1935

Untitled, 1961
Mixed technique
19 x 16 cm

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In his works, the protagonists are the women, the music, the literature, the landscapes, all of them elements of the reality that surrounds him. Roberto Duarte transforms them and proposes to reveal the mysteries they contain through lines and colors.

Comments: Alicia Brandy / Photography: Gustavo Lowry /Reproduction: Courtesy BASS Auction House, Argentina / Color separation: Fotolito: PubliArte.

Omar Carreño, Nueva Esparta, Venezuela, 1927

Two Blues, 1953
Ripolin on wood.
45.7 x 56 cm

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Omar Carreño’s work partakes of abstract-geometric aesthetics whose searches, free from a theme or the need to reflect the objective reality, exalted the pure forms, the uniform areas of color, the plane, the rhythm, the order, the symmetry and the line as configurative elements of a new language.

Comments: Juan Calzadilla / Reproduction: Courtesy Henrique Faria Fine Art, NY, USA / Color separation: Fotolito: PubliArte.

Juan Araujo, Caracas, Venezuela, 1971

Reflection on coloritmo MV2, 2005
Oil on wood
20,3 x 25,5 cm

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…the coloritmos (by Alejandro Otero), that Araujo fragments and “copies” in exact versions, but decomposed, at the time that they include his reflection, the active subject, in that minute fraction of the painting. He gathers all the constituting characters of the painting, structure, color, etc., to those of the passing of time …and almost follows himself in the double step of vision and realization.

Comments: Mariano Navarro / Reproduction: Courtesy Henrique Faria Fine Art, NY, USA / Color separation: Fotolito: PubliArte.

Osvaldo Romberg, Buenos Aires, Argentina, 1938. Lives and Works in New York

1-388 All the Colors of the Chromatic Circle Interacted by Blue Ultramarine, 1980
Acrylic and graphite on canvas
198 x 177.8 cm

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…he explicates and recombines the color palette of past masters in a specifically linguistic manner. He disrupts the purely visual stimulus of color by placing it in the service of text and language. In this way, painting is taken to its very limits as the meaning of the brush becomes textual and not visual, linguistic and not phenomenological.

Comments: Damien Bright / Reproduction: Courtesy Henrique Faria Fine Art, NY, USA / Color separation: Fotolito: PubliArte.

Ralph Coburn, Minneapolis, United States, 1923

Collage Drawing, 1950-56
Paper on paperboard
24 x 32 cm

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Marked by elegant, restrained observations of the urban and rural forms around him, his drawings and collages from 1949–1956 reveal an experimental sensibility and a remarkably instinctual ability to see unusual spatial relationships and patterns of light and dark.

Comments: Rachael Arauz / Reproduction: Courtesy Henrique Faria Fine Art, NY, USA / Color separation: Fotolito: PubliArte.