Art of the Americas – 2020 – Interciencia English

Art of the Americas – 2020

Alfonso Fernández, Santiago, Chile, 1969

Drawing 5, 2018
Pastel, acrylic, India ink, graphite, guarro biblos paper
50 x 61 cm

Alfonso Fernández always combines the landscape with the reflection of his portraits, the moving figure and the signal of humanity that he inserts in its whole, be it in abstract or figurative form, or simply in a calligraphic gesture. To this end, he makes use of traditional tools such as painting, drawing, sculpture and engraving in order to express his objectives.

Comments: Alfonso Fernández / Photography: Alfonso Fernández / Reproduction: Courtesy of the artist /

Carolina Oltra Thennet, Rancagua, Chile, 1968

Good breeze, good weather, 2013
Acrylic and mixed technique on canvas
100 x 100 cm

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…not to copy nature but, rather, search in it new textures, shapes and colors, is what expels the works in collage, mixed media and panoramic canvases of Carolina Oltra. What we could perfunctorily call remains of a given landscape, since as we observe them become sort of a sum of fragments in the form of strokes or grains, loaded with the journeys that the artist makes through the vastness of the local shore or the banks of the Mapocho river…

Comments: Carlos Navarrete / Photography: Carolina Oltra Thennet / Reproduction: Courtesy of the artist/

Cristián Cuevas, Concepción, Chile, 1981

Circular Landscape, 2019 – Curved Landscapes Series
High impact polystyrene, acrylic, epoxy resin, enamel aerosol
37 x 31 x 4,5 cm

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The aesthetics of the contemporary landscape and the perception of the real are blurred in the amorphous topography that arises in my work, that landscape without time and definite event, nothing more than its spectacular timeless curvature, a loss of the world, a complex reality, our contemporary landscape…

Comments: Cristián Cuevas / Photography: Cristián Cuevas / Reproduction: Courtesy of the artist/

Catalina Abdul Mesih, Santiago Chile, 1972

Untitled, 2018
Acrylic on canvas
200 x 150 cm

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My work studies the organic and fragmented reality. By means of colors, patches, wash and superposed layers, which flow to counter the body of the work. …it is expected that the observer experience all the phenomena related to the esthetic, private, personal and non-transferable experience. …the secret contained in the compositions is the color as the main theme to interpret the symbology and pure states of awareness, that we remember from childhood…

Comments: Catalina Abdul Mesih / Photography: Catalina Abdul Mesih / Reproduction: Courtesy of the artist and Gallery Bucci, Santiago, Chile /

Asdrúbal Colmenárez, Trujillo, Venezuela, 1936

Des-Trames # 10, 2012
Mixed technique on canvas
77 x 88 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 /

Margarita Garcés Echeverría, Santiago, Chile, 1966

Ego, 2020
Acrylic on canvas
150 x130 cm

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Her work alludes to the ancient palimpsests …under whose letters traces of other writings from times past can be discerned …erased in order to write another text in their place and which impede reading what is left behind. A plastic and existential initiative that Margarita Garcés reinterprets, and if one gets close to it and looks carefully within it, rediscovers the same elements that characterize this recent production: mysterious weaves, imaginary grids and cartographies of the self and of the planet…

Comments: Marilú Ortiz de Rozas / Photography: Margarita Garcés / Reproduction: Courtesy of the artist/

Ana Blanco, Caracas, Venezuela, 1973. Lives in Madrid, Spain

Neverland, 2014
Oil on canvas
100 x124 cm

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“Neverland (Nuncajamás)” refers to the wealth of that early innocence when you´re a child; of the discoveries that you live only once but leave a mark and you carry along. Of that impressive ship trip when you sail amid the apprentice pranks. Of that learning that even if taken advantage of, should never reach port.

Comments: Ana Blanco / Photography: Ana Blanco / Reproduction: Courtesy of the artist

Clemente Padín, Lascano, Uruguay, 1939

Text VIII, 1968/2011
Silk screen on Canson paper
65 x 50 cm

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Padín began the series entitled Texto in 1967 and in 1968 Serigraphies, which were formal experiments in non-semantic visual poetry. These works, as well as other exercises of visual poetry made in during the second half of the 1960’s in the region, led to the limits between the universe of literature and that of the visual arts became extremely imprecise.

Comments: Manuel Neves / Photography: Gallery Herlitzka + Faria / Reproduction: Courtesy of the artist and Gallery Herlitzka + Faria, Buenos Aires, Argentina

Dolores Zinny, Argentina, 1968 and Juan Maidagan Argentina, 1957

Fighting Club, 2011
Fabric
180 × 240 cm

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Whoever has enjoyed, as a traveler, the sudden discovery of a relic of modernist architecture in the midst of a provincial town lost in time, or a metropolis seized by late capitalism may share the insights Dolores Zinny and Juan Maidagan trigger in their work – the memory of a time where the notion of the future as progress or utopia was widely shared. By revealing the future… they create a common vocabulary for a community to come.

Comments: Silvia Fehrmann / Photography: Courtesy of the artists / Reproduction: Courtesy of the artists and Gallery Herlitzka + Faria, Buenos Aires, Argentina

Eduardo Santiere, Buenos Aires, Argentina, 1962

Social Distancing 2, 2020
Color pencil on paper
38 x 38 cm

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His meticulous technique is displayed on paper, utilizing graphite and color pencil, and incorporating in some series the own materiality of paper… In the new context of mandatory preventive social distancing, where the system of multitudes collapses, the artist develops this series (Social Distancing), in which the crowding is replaced by more subdued compositions.

Comments: Gallery Herlitzka + Faria / Photography: Courtesy of Eduardo Santiere / Reproduction: Courtesy of the artist and Gallery Herlitzka + Faria, Buenos Aires, Argentina

Manuela Viera-Gallo, Chilean artist born in Rome, Italy (1977). Works in New York since 2005.

Under the eyes, 2017
Oil on canvas
50,4 x 40,6 cm

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Her point of view has been strongly shaped by the social and political violence that has affected the history of most Latin American countries and by a constant state of migration. … Viera Gallo ́s work engages preoccupations, anxieties and fears derived from her own experience. …departs from absurdity to manipulate and distort known symbols and imagery into an allegorical, fantastical and darkly comical framework…

Comments: Aninat Gallery / Photography: Courtesy of Aninat Gallery / Reproduction: Courtesy of the artist and Aninat Gallery, Santiago, Chile

Asdrúbal Colmenárez, Trujillo, Venezuela, 1936

Des-Trames # 24, 2012
Mixed technique on canvas
77 x 88 cm

Zoom

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… an un-weaved canvas that moves its threads at the rhythm of the wind… Another of the resources… is the uncompleted… 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 /