Leo Battistelli. Rosario, Argentina, 1972. Lives in Rio de Janeiro, Brazil.
Red-rose apple layer, 2009, 2010
Ceramic, pigments, polymer and wood.
110cm x 110cm x 10cm
…To Battistelli beauty is not a visual nor formal harmony, but a form of energy, and intensity so subtle as it is powerful, which transforms the things, the relationships, the situations. His works are, also, talismans; that is, apotropaic objects: they drive off evil…
Comments: Daniel Molina / Photography: Víctor Hugo / Reproduction: Courtesy of the artist /
Jesús “Bubu” Negrón, Puerto Rico, 1972
Night, series Ethnographic Abstractions
Acrylic on canvas and paper mâché mask by artisan Ponce Vejigante
Canvas Size: 121.9 x 152.4 cm
Jesús “Bubu” Negrón… is deeply connected to his island’s heritage, histories and communities. Through his socially engaged practice, he has forged a creative career with projects that directly involve his fellow islanders and honor their stories, creating bridges between the past and present day.
Comments: Alexandra Schoolman / Photography: Arturo Sánchez / Reproduction: Courtesy of the artist and Henrique Faria, New York /
Tarsila do Amaral, Brazil, 1886-1973
A Negra, c.1940
Oil on canvas
100 × 80 cm
A Negra (1923) … was also the factual ground on which, in the form of a historical tragedy and emancipatory promise, the utopia of the anthropophagic project could nourish itself. A Negra was, then, the fait accompli and the body … that existed as an inexorable donation.
Comments: Luis Pérez-Oramas / Photography: Arturo Sánchez / Reproduction: Courtesy of the artist and Henrique Faria, New York /
Mariana Bunimov, Caracas, Venezuela, 1972.
Mines, 2015- 2016
Oil on paper
58.4 x 62.2 cm
Much like our ancient ancestors, …Bunimov is a hunter-gatherer …reacts primally, foraging through the wilderness, pulling things into herself, stockpiling what she needs -and more- for the long, cold winter of her consciousness. … In Bunimov’s recent body of work, she has taken to painting as another way to collect and filter, …In her vibrant paintings, we find kaleidoscopic mountain ranges and skeletal buildings, flying drones and floating islands… It is, upon first glance, a rather strange collection of images.
Comments: Jens Hoffmann / Photography: Arturo Sánchez / Reproduction: Courtesy of the artist and Henrique Faria Gallery, New York /
Luis Roldán, Cali, Colombia, 1955.
Oil on linen
35.6 x 40.6 cm
The sculptures and paintings organized in the exhibition space are fragments that invite us to continue completing, enlarging, augmenting, researching the myriad hypotheses that might justify their existence. But mostly, their purpose is to provoke our imagination, to make us creators of stories and narratives by suggesting an interplay between observation and materialization, surface and volume, void and being, possessions and desires.
Comments: Mariangela Méndez / Photography: Arturo Sánchez / Reproduction: Courtesy of Henrique Faria Gallery, New York /
Oscar Araripe, Río de Janeiro, Brazil, 1941
Flowers 436, 2022
Acrylic on synthetic canvas
40 x 60 cm
… one of the few Brazilian artists to achieve the difficult balance between accuracy and lightness. His flowers, or rather, his still lives where flowerpots assume the central role, are both pure forms and pure flowers …the flowers of his paintings are like butterflies, their wings are petals, and we don’t not know whether flowers are butterflies standing on the stems or butterflies are flowers that went flying.
Comments: Alexei Bueno / Photography: Oscar Araripe Foundation / Reproduction: Courtesy of the artist /
Andrea Santarelli, Mendoza, Argentina, 1984
Landscape II, Series: Imaginary Landscape, 2022
Acrylic on canvas
120 x 150 cm
I propose my work in communion with nature. With the natural world and what happens here. Nature as part of my daily life, as a creative stimulus. Whatever is related to an evolutionary or cyclical process is of interest to me… The forest, the sea, the pines and the flowers. The seasons, the moon, the loneliness. The contrast of presence and absence. Everything left in memory is translated on the canvas. They are landscapes that I travel day by day. Perhaps imaginary.
Comments: Andrea Santarelli / Photography: Andrea Santarelli / Reproduction: Courtesy of the artist /
Juan D’Lala, La Plata, Argentina, 1976
Winter, Series: The Four Seasons, 2021
Acrylic on canvas
100 x 150 cm
… I try to generate a geometry where ingenuity predominates to build the image. To search for formal beauty from the dialectic of questioning between real space and represented space. To show an unfeasible construction from another discipline can only exist in the exhibited form, provoking in the viewer the need to imagine in the two-dimensional form a speculative three-dimensional impossible to build. The piece accesses the viewer’s sensibility through ingenuity.
Comments: Juan D’Lala / Photography: Juan D’Lala / Reproduction: Courtesy of the artist /
Benjamin Dadá, Santiago, Chile, 1957
Acrylic on canvas
60 x 60 cm
The forests of our deep Chile have their own language. Everything is in motion, infinitely humid ancestral gestures, everything dances, the scented light of morning filtering through the foliage together with the music of tiny insects… all this is for me, a universe in permanent celebration… for me, it is an honor to paint these kingdoms that sometimes show themselves…Dadá
Comments: Benjamin Dadá / Photography: Sandro Álvarez Ruz / Reproduction: Courtesy of the artist /
Alejandro De Narváez, Bogotá, Colombia, 1961
Shoal of Ilusion, 2022
Cut and painted iron
180 x 170 x 70 cm
It is about the illusions that each one of the members of humanity has, a shoal of illusions, of joys, of dreams to be fulfilled. Those dreams that are part of a family group, a work group, a community to reach a well-called life, fullness, are suspended…dreams are always on the air to go over destiny.
Comments: Alejandro De Narváez / Photography: Alejandro De Narváez / Reproduction: Courtesy of the artist /
Mariana Brea, Apóstoles, Misiones. Argentina,1978
Metallic Organicity Series, Dissection 1, 2020
Hand cut paper covered in acrylic case
59 x 59 cm.
Metallic Organicity: Elongated, stylized and ambiguous shapes, belonging to the plant and animal world, have a dialogue with the equilibrium, the ornament and the human body. In contrast, the brilliant and industrial palette emulates a certain ferrous presence. The brilliance of the paper and the design uncover the sensuality of the line and the complex work suggested in the weft.
Comments: Mariana Brea / Photography: Mariana Brea / Reproduction: Courtesy of the artist and Gallery Praxis, Buenos Aires
P.O.B 51842, Caracas 1050 A – Venezuela
Phone: (+58-212) 9917525; 9923224
Camino El Alba 9500, Torre B, Oc. 323, Las Condes, Santiago, Chile CP.7600830
Phone: (+56) 582386092; 582386090;