Madi International Carmelo Arden Quin
b. 1913, Rivera, Uruguay
d. 2010, Savigny-sur-Orge, France
The elements of sculpture, volumes and vacuums, interrelate in a variety of ways, forming a rich and playful range of plastic positions, all of this within geometry and non-figurativism. They are present in their own nature, without realist remnants. They are ludic, since one can choose positions in one’s own way and give it any desired form. There is no need to express, represent, or symbolize. The artistic object must be pure. Carmelo Arden Quin
Painter, sculptor, and poet. He studied painting in Santana do Livramento, Brazil. In 1935 he is drawn by the work of Joaquín Torres García. He settles in Buenos Aires in 1937 and studies Philosophy and Literature at the University. In 1944 he publishes, together with Gyula Kosice and Tomas Maldonado, among others, Arturo. Revista de Artes Abstractas which marks the start of the non-figurative movement in Argentina. A year later he co-founds the “Arte Concreto-Invención” group, and in 1946 the Madí movement. In 1950 he creates the Centre Madí Paris and in 1954 founds in Argentina, along with Aldo Pellegrini, the group Arte Nuevo, consisting of artists of non-figurative tendencies. Quin makes his first geometric non-figurative work in 1935 and in 1936, transgressing the academic framework configuration, he creates his first non-orthogonal paintings. In the 40s Quin produces articulated and mobile sculptures, polygonal framed painting-objects. Later in Paris, he makes use of collage and decoupage (emptying). In 1971, he returns to painting with black lines with bulky forms called Formes galbées (Turned forms). Among his most important solo exhibitions are: Galerie Charley Chevalier (Paris, 1973) “Retrospective 1936-1985”; Galerie des Ponchettes (Nice, 1985); Arte y Tecnología Foundation (Madrid, 1997); Durban Segnini Gallery (Miami, 2006); “A Celebration of Geometric Art, MADÍ Homage to Carmelo Arden Quin”, Leepa Rattner Museum of Art (Tarpon Springs, Florida, 2006). His works are present in different museums and collections including, among others: The Museum of Geometric and MADÍ Art (Dallas, Texas, USA); Musée d’Art Moderne (Saint-Étienne, France); Museu MADÍ de Sobral (Ceará, Brasil); Museo de Arte Latinoamericano de Buenos Aires (Argentina); Daros-Latinamerica Collection (Zurich, Switzerland); Ella Fontanals-Cisneros Collection (Miami, USA); Patricia Phelps de Cisneros Collection (Caracas, Venezuela).
Leon Tovar Gallery represents the Estate of Carmelo Arden Quin.
The art of Carmelo Arden Quin is a confounding mixture of Constructivist geometry and Dada-like zeal, a heady combination that surfaces in the playful and fluid abstractions that constitute his best-known work. Fundamental to the development of his instantly recognizable aesthetic was Arden Quin’s early fascination with the teachings of the great proselytizer of “Constructive Universalism,” Joaquín Torres-García, whom he met shortly after latter’s return to Montevideo in the mid-1930s. The Uruguayan master had been in Europe, where he was co-founder of the Cercle et Carré [Circle and Square] journal alongside Michel Seuphor, and debated the possibilities of abstract art with the likes of Piet Mondrian and Theo van Doesburg. Not only for Arden Quin, but for many artists in the Rio de la Plata, Torres-García’s role in introducing contemporary European art to Uruguay, his theory-laden radio broadcasts, and his own artwork, were groundbreaking awakenings to avant-garde practice. From Torres-García, Arden Quin took an interest in the “golden ratio”[3]—a mystical proportion used to create harmonious compositions—and was fascinated by the former’s transformable wooden “toys.” The articulated movement of these toys proved an important touchstone for Arden Quin’s later preoccupation with movement, and therefore with the ludic—or playful—as well.[4]
In 1944, Arden Quin and several others published the first and only issue of the journal Arturo, which featured manifesto-like texts and avant-garde poetry. Arden Quin’s contribution to the journal was a brief, untitled essay that outlined the pathway for a new type of art. Though emphasizing the freedom of imagination offered by Surrealism, Arden Quin argued that such an approach alone would not allow for the aesthetic progress he hoped to incite. He therefore proclaimed the necessity of a cool, scientific rationality to organize and assimilate these imaginative flights into new forms for new times. This process the artist called Invention.[5] “At best, automatism stirs the imagination,” Arden Quin wrote. “But imagination must immediately be put in check by keen artistic awareness and even cold calculations, patiently devised and applied. That will automatically lead to aesthetic creation . . . imagination, in all its contradictions, will surface; consciousness will then organize it and clear away all representative, naturalist images (even dreams) and all symbols (even the unconscious).”[6]
Among Arden Quin’s collaborators in this short-lived magazine were Tomás Maldonado, Edgar Bayley, Gyula Kosice, Torres-García, Vicente Huidobro, Lidy Prati, and Rhod Rothfuss among others. The latter’s essay interrogating and dismissing the traditional rectilinear picture plane provided a theoretical backbone for the experiments with shaped canvases embarked on by this circle of artists.[7] Arden Quin later reiterated the creative potential to be found in the non-orthogonal pictorial support in a 1945 lecture titled “The Mobile,” invoking Torres-García’s toys as well as the Italian Futurist call for dynamic painting.[8]
The mid-1940s was marked by a fracture within the loosely defined group of artists who convened around Arturo. In the coming years, two factions would spring from the journal’s collaborators—Madi (Arden Quin, Kosice, Rothfuss, and Martin Blaszko) and the Asociación Arte Concreto-Invención (Maldonado, Bayley, Enio Iommi, and Manuel Espinosa, among others). While the Madi group would not last long as a cohesive unit, their frequent issuing of proclamations and manifestos, as well as the use of exhibition models incorporating music, dancing, and poetry, has earned the group recognition as among the earliest avant-garde movements in Latin America.[9]
The Madi group officially formed in 1946 with the launch of their manifesto and the opening of their debut exhibition. The manifesto contained explicitly listed directives regarding the requirements of Madi production in each artistic medium, from Madi architecture to Madi theater. In adherence with these specifications, sculptures were to be as follows:
…three-dimensional, without color. Overall form and solid shapes with a delimited range and motion (articulation, rotation, shifting, etc.).
The requirements for painting were equally explicit:
…color and two-dimensionality. Uneven and irregular frame, flat surface, and curved or concave surface. Articulated surfaces with lineal, rotating, and changing movement.
Arden Quin’s subsequent body of work is characterized by a consistent engagement with these pre-conditions for art-making. His shaped paintings eschew any right angles in favor of the obtuse and acute, while the artist and his colleagues developed a number of innovative forms all in the name of a ludic instability: hanging mobiles; groups of movable paintings known as “coplanals”; sculptures with rearrangeable components. This especially fruitful period also saw Arden Quin’s conception of an undulating format of painting known as the “Forme Galbée.” While these paintings are stationary, their surfaces roll from concave to convex and back again in a manner conveying the sensation of motion, heightened by the optical play that occurs between the painted compositions and the undulations of the support. Arden Quin later revisited this format with new attention and vigor during the 1970s.
In 1948, following a schism within the Madi group, Arden Quin relocated to France where he would later continue to promote his strand of the movement, all the while incorporating new elements into the Madi arsenal. While Arden Quin would maintain production of irregularly shaped canvases and playful sculptures, the artist’s creativity was also fueled by his study of Georges Vantongerloo’s artwork and his bourgeoning friendship with Francis Picabia. Inspired by the former’s monochrome palette, Arden Quin likewise experimented with a reduction of his own during this period, creating what has been referred to as his “White Forms.” Reflecting on a visit to Vantongerloo’s studio, Arden Quin stated: “ . . . I hadn’t understood Mondrian, or Malevich, and even less so the Malevich of White on White. It was by observing the work of Vantongerloo that, for the first time, I was aware of that problem. Currently, with the creation of the MADI scientific movement I have blankness as an artistic basis for this new experience. For me, blank space isn’t a relationship like it is for Mondrian, nor the way emptiness is for Vantongerloo, but rather art’s essence, function, and creation.”[10]
In the mid-1950s, Arden Quin briefly returned to Buenos Aires, cofounding the Agrupación Arte Nuevo before ultimately returning to France, where, from 1958 to 1971, collage and decoupage were the artist’s medium of choice.[11] During this time, Arden Quin also dedicated himself to literary endeavors. In 1960, he cofounded with Godo Iommi a poetry group known as La Phalène, and in 1963, he inaugurated Ailleurs, a literary journal that ran until 1968. As Arden Quin’s career progressed, he incorporated new materials—plastics and metals—and maintained a strong case for the expansive possibilities of painting and sculpture until the end of his life.
The work of Carmelo Arden Quin has been included in such groundbreaking exhibitions as Latin American Artists of the Twentieth Century, Plaza de Armas, Seville (Traveled to: Centre Pompidou, Paris; Josef-Haubrich Kunsthalle, Cologne; Museum of Modern Art, New York); La Escuela del Sur: El Taller Torres García y su legado, Museo Nacional Centro de Arte Reina Sofía, Madrid (Traveled to: Archer M. Huntington Art Gallery, Austin; Museo de Monterry, Mexico; Art Museum of the Americas, Washington, DC; Bronx Museum of Art, New York; Museo Rufino Tamayo, Mexico City); Arte MADI, Museo Nacional Centro de Arte Reina Sofía, Madrid (Traveled to: Museo de Arte Extremeño e Iberoamericano, Badajoz); Beyond Geometry: Experiments in Form 1940s–70s, Los Angeles County Museum of Art (Traveled to: Miami Art Museum); Inverted Utopias, Museum of Fine Arts, Houston; A Tale of Two Worlds, Museum für Moderne Kunst, Frankfurt (Traveled to: Museo de Arte Moderno de Buenos Aires); Sur moderno: Journeys of Abstraction, Museum of Modern Art, New York. His artwork may be found in the Daros Latin American Collection, Zurich; Harvard Art Museums, Cambridge, MA; Los Angeles County Museum of Art; Museum of Fine Arts, Houston; Museum of Modern Art, New York; Patricia Phelps de Cisneros Collection, Caracas and New York; and the Tate Americas Foundation
[1] Claudia Laudanno, “Carmelo Arden Quin: Aestheticism and Asceticism of a Madi,” Art en Colombia 93; ArtNexus 47 (2003): 60–65. This text is reproduced in Geometric Abstraction in Latin America: Anthological Texts Arte en Colombia/ArtNexus (Bogota: ArtNexus, 2013), 69–70.
[2] Ibid., 68–70.
[3] Shelley Goodman, When Art Jumped Out of its Cage (Dallas, TX: MADI Museum and Gallery, 2004), 45–48. See also Gabriel Perez-Barreiro, “Buenos Aires: Breaking the Frame” in The Geometry of Hope: Latin American Abstract Art from the Patricia Phelps de Cisneros Collection, exh. cat. (Austin, TX: The Blanton Museum, 2007), 36.
[4] Laudanno, “Carmelo Arden Quin,” 69. See also, Shelley Goodman, When Art Jumped Out of its Cage, 48, and Santiago B. Olmo, “The Madi Art Labyrinth: Museo Nacional Centro de Arte Reina Sofia, Madrid,” Arte en Colombia 72; ArtNexus 26 (1997): 119–121. This text is reproduced in Geometric Abstraction in Latin America, 36.
[5] María Amalia García, “Arturo Magazine and the Manifold Power of the Avant-Garde,” in Arturo, facsimile (Buenos Aires: Fundación Espigas, 2018), 33–34.
[6i] Carmelo Arden Quin, untitled text, Arturo, facsimile (Buenos Aires: Fundación Espigas), 49.
[7] Cristina Rossi, “Invention and Movement,” in Kinesthesia: Latin American Kinetic Art, 1954–1969, exh. cat. (Palm Springs, CA: Palm Springs Art Museum, 2017), 66.
[8] Laudanno, “Carmelo Arden Quin,” 68, 69.
[9] Perez-Barreiro, “Buenos Aires: Breaking the Frame,” 36.
[10] Quoted in Rossi, “Invention and Movement,” 76.
[11] Alexandre de la Salle, “Quelques expositions d’Arden Quin et de Madi entre 1958 et 2008,” in Carmelo Arden Quin (Cagnes-sur-mer, France: Editions L’image et la parole, 2008), 259.
Selected Solo and Two-Person Exhibitions
2018 Carmelo Arden Quin: La Utopía Modernista, Simões de Assis Galería, São Paulo
Carmelo Arden Quin: Invention, Leon Tovar Gallery, New York
2017 Carmelo Arden Quin: Obras 1940–2010, Vermeer Galería de Arte, Buenos
Aires
2014 Arden Quin: Retrospective Exhibition 1938–2009, Durban Segnini Gallery, Miami
Carmelo Arden Quin: A invencão lúdica: Décadas de 1940–2000, Simões de Assis Galería,
Curitiba, Brazil
2013 Carmelo Arden Quin: Paintings, Collages, Mobiles, 1930s to 1970s, Sicardi Gallery, Houston
Arden Quin: La Invención Lúdica, Museo Provincial de Bellas Artes Franklin Rawson, San
Juan, Argentina
2012 Carmelo Arden Quin, Galería del Paseo, Punta del Este, Uruguay
2010 Carmelo Arden Quin/La Vanguardia Rioplatense, Spanish Cultural Center, Montevideo
2007 Carmelo Arden Quin, Drouart Gallery, Paris
Coplanales 1946–2007, Fondo Nacional de las Artes, Buenos Aires
2005 Carmelo Arden Quin: MADI pinturas | objetos, Museo de Arte Contemporáneo,
Universidad Nacional del Litoral, Santa Fe, Argentina
2001 Confrontaciones: Carmelo Arden Quin y Enio Iommi, Galería Del Infinito, Buenos Aires
2000 Arden Quin en Argentina, Museo de Arte Contemporaneo Latinoamericano, La Plata,
Argentina
1999 Franka Berndt Gallery, Paris
1998 Carmelo Arden Quin. Pinturas y objetos 1945–1995, Galería Ruth Benzacar, Buenos Aires
1997 Arden Quin, Fundación Arte y Tecnología, Madrid
1995 Continuidad MADI, Centoira Gallery, Buenos Aires
1994 Arden Quin: Oeuvres, 1934–1994, Esplanade Gallery, School of Fine Arts, Metz, France
1992 Arden Quin et Madi, Galerie Alexandre de la Salle, Saint-Paul de Vence, France
1990 Arden Quin: Recent Works, Keller Gallery, Paris
1989 Carmelo Arden Quin: Collages 1950–1960, Galerie Down-Town, Paris
Arden Quin: 1936–1952, Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
1988 Arden Quin: Formes Galbées, Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
Franka Berndt Gallery, Paris
1987 Arden Quin, Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
Arden Quin, Galerie Down-Town, Paris
1986 Cincron Centro Culturale Arte Contemporanea, Brescia, Italy
1985 Arden Quin: 1936–1985, Galerie des Ponchettes, Musées de Nice, France
Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
1983 Hommage de Carmelo Arden Quin à l’Occasion de son 70ème Anniversaire, L’Espace LatinoAméricain, Paris
Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
1981 Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
1979 Galerie 30, Paris
Galeria-Association Lieu 5, Vieux Nice, France
1978 Retrospective, Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
1977 Arden Quin, Oeuvres 1942–1977, Galerie Quincampoix, Paris
1973 Arden Quin, Collages, Découpages, Galerie Charley Chevalier, Paris
1954 Exhibition of collages and cut outs, home of Dr. E. Rolla, Buenos Aires
Selected Group Exhibitions
2019 Outlines, Leon Tovar Gallery, New York
2017 Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de
Cisneros, J. Paul Getty Museum, Los Angeles
2016 Homenaje a los 70 años Madi, Vermeer Galería de Arte, Buenos Aires
2014 Radical Geometry: Modern Art of South America From the Patricia Phelps de Cisneros
Collection, Royal Academy of Arts, Lodon
2012 Cor e Forma III, Simões de Assis Galeria, Curitiba, Brazil
2011 International Contemporary Masters, Abigail Galéria, Budapest
América Fría: La Abstracción Geométrica en Latinoamérica (1934–1973), Fundaciòn Juan
March, Madrid
MADI Internacional: Argentina, Brasil, Uruguay, Palais de Glace, Palacio Nacional de las
Artes, Buenos Aires
Conscience polygonale, Château de Carros, Nice, France
Geometrie di luce, Palazzo della Vicaria, Trapani, Italy
MADI: Carmelo Arden Quin and Co., Musée d’art et d’histoire de Cholet, France
2010 MADI Internacional, Laura Haber Art Gallery, Buenos Aires
2008 Mouvement MADI International, Maison de l’Amérique Latine, Paris
2007 Madi noir et blanc, Paris-Mauberge, France
Espace MADI, Galerie des Wantiers, Valenciennes, France
The Geometry of Hope: Latin American Abstract Art from the Patricia Phelps de Cisneros
Collection, Blanton Museum of Art, The University of Texas, Austin (Traveled to: Grey
Art Gallery, New York University)
2005 Madi Art, Optic and Kinetic Exhibition, Durban Segnini Gallery, Miami
L’oeil moteur: Art optique et cinétique, 1950–1975, Musée d’Art Moderne et
Contemporain de Strasbourg, France
2004 7 International Madi Artists, Durban Segnini Gallery, Miami
Inverted Utopias, Museum of Fine Arts, Houston
Beyond Geometry: Experiments in Form 1940s–70s, Los Angeles County Museum of Art
(Traveled to: Miami Art Museum)
2003 Movimiento MADI Internacional, Museo de Arte Contemporáneo Latinoamericano, La
Plata, Argentina (Traveled to: Centro Cultural Borges, Buenos Aires)
Arte Abstracto Argentino—Arte Concreto Invención, Fundación Proa, Buenos Aires
2002 Festival Kassak et MADI aujourd’hui, Galéria Z, Mesaké Múzeum, Bratislava, Umenia
Gallery, Slovakia
2001 Geometric Abstraction: Latin American Art from the Patricia Phelps de Cisneros Collection, Fogg
Art Museum at Harvard Univertiy, Cambridge, MA
ARTE Madi Freie Geometri, Emilia Suciu Gallery, Ettlingen, Germany
MADI: Outside the Box, Polk Museum of Art, Lakeland, FL
Abstract Art from the Rio de la Plata: Buenos Aires and Montevideo, The Americas Society,
New York
2000 Arte MADI, Palazzo Reale di Portici, Naples, Italy
Art Concret, Espace de ‘Art Concret, Mouans-Sartou, France
1997 Arte MADI, Museo Nacional Centro de Arte Reina Sofía, Madrid (Traveled to:
Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz, Spain)
Bienal de Mercosur, Porto Alegre, Brazil
1996 MADI Internacional: 50 Años Después, Ibercaja Bank, Zaragoza, Spain
1995 Arte MADI, anterioridad y continuidad, Museo Torres García, Montevideo
1994 Art from Argentina, 1920–1994, Museum of Modern Art, Oxford (Traveled to: Royal
College of Art, London; and the Centro Cultural Borges, Buenos Aires)
1992 Abstraction géometrique, Galerie Alexandre de la Salle, Saint-Paul de Vence, France
Latin American Artists of the 20th Century, Antigua Estacion de Armas in Seville, Spain
(Traveled to: Centre Georges Pompidou, Paris; Ludwig Museum, Josef-HaubrichKunsthalle, Cologne, Germany; Musem of Modern Art, New York)
1991 Arte Concreto Invención, Arte Madi, Haus für Konstrucktive und Konkrete Kunst, Zurich:
(Traveled to: Galerie Lahumière, Paris, with a condensed presentation at Rachel Adler
Gallery, New York)
La Escuela del Sur: El Taller Torres García y su legado, Museo Nacional Centro de Arte
Reina Sofía, Madrid (Traveled to: Archer M. Huntington Art Gallery, Austin, TX; Museo
de Monterry, Mexico; Art Museum of the Americas, Washington, DC; the Bronx
Museum of Art, New York; Museo Rufino Tamayo, Mexico City)
1990 Ambivalences, Galerie Alexandre de la Salle, Saint-Paul de Vence, France
Art Construit, Galerie Convergence, Paris
1989 Art in Latin America: The Modern Era, 1820–1980, Hayward Gallery, London (Traveled to:
Palacio de Velasquez, Madrid)
1987 9 artistas del Espacio Latinoamericano de París, Del Retiro Galería de Arte, Buenos Aires
Abstraction Geometrique, Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
1985 Madi group show, Cultural Affairs Committee of UNESCO, Paris, France.
1984 Face á la Machine, L’Espace Latino-Américan, Paris
I Havana Biennial
Madi Maintenant: Sortie du Rectangle, Galerie Alexandre de la Salle, Saint-Paul-de-Vence,
France
Madi group show, Il Salotto Gallery, Como, Italy
Madi group show, Luisella d’Alessandro Gallery, Turin, Italy
MADI group show, Galerie Alexandre de la Salle, Nice, France
1982 Mouvances, MADI, Espace Donguy, Paris
Group show, Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
1981 20 Artistes Latino-Américains, Hotel de Ville, Arcueil, France
1980 Vanguardias de la década del 40. Arte concreto invención-arte MADI-perceptismo, Museo
Sivori, Buenos Aires
1976 Homenaje a la Vanguardia Argentina: Decada del 40, Galería Arte Nuevo, Buenos Aires
1968 Group show, Alexandre de la Salle Gallery, Place Godeau, Vence, France
1967 Exhibition of Madí poems and books, Librairie David, l’Odeon, Paris
1964 50 años de “Collages,” Papiers Collés, Musée d’Art et d’Industrie, Saint-Étienne Museum,
France
1962 Del arte concreto a la nueva tendencia, Museo de Arte Moderno, Buenos Aires
1961 150 años de arte argentino, Museo Nacional de Bellas Artes, Buenos Aires
1959 Pientres et Sculpteurs Argentins en France, Centre Culturel Artistique du Comité FranceAmérique, Paris
1958 Panorama de la Escultura Non Figurativa Argentina, Asociación Estímulo de Bellas Artes,
Buenos Aires
1956 XI Salon des Réalités Nouvelles, Paris
Pintura y Escultura non Figurativa, Museo de Artes Plasticas Sivori, Buenos Aires
1955 X Salon des Réalités Nouvelles, Paris
Salón de Arte Nuevo non Figurativo, Galería Van Riel, Buenos Aires
1954 IX Salon des Réalités Nouvelles, Paris
1953 Madi group show, Galerie de l’Odeon, Paris
VIII Salon des Réalités Nouvelles, Paris
1952 VII Salon des Réalités Nouvelles, Paris
Primera Exposición Internacional de Arte, Galería Cuatro Puntos, Caracas
Diagonale, Denise René Gallery, Paris
1951 VI Salon des Réalités Nouvelles, Paris
Espace-Lumière, Galérie Suzanne Michel, Paris
1950 Madí group show, Colette Allendy Gallery, Paris; the show is reinstalled at the V Salon
des Réalités Nouvelles, Paris
1949 1ère Exposition des Artistes d’Amerique Latine a Paris, Maison de l’Amérique Latine, Paris,
France.
IV Salon des Réalités Nouvelles, Paris
Segundo Salón de Arte No Figurativo, Abstracto, Concreto, Madi, Madinemsor, Galería Van
Riel, Buenos Aires
1948 Exposición de Pintura Argentina, Centro Cultural y Deportivo Israelita, Ramos
Mejía, Provincia de Buenos Aires
Exposición Arte Madí, house of Martín Blaszko, Buenos Aires
III Salon des Réalités Nouvelles, Paris
Nuevas Realidades, Arte Abstracto Concreto, Galería Van Riel, Buenos Aires
1947 Primera Muestra de Arte Nuevo (Joven Pintura Argentia), Salón Kraft, Buenos Aires
Segunda Muestra de Arte Nuevo, Galeria Payer, Buenos Aires
1946 Primera Exposición del Grupo MADI, French Institute of Higher Education, Galería Van
Riel, Buenos Aires
Segunda Exposición de Arte MADI, Escuela Libre de Artes Plásticas Altamira, Buenos Aires
Tercera Exposición de Arte MADI, Bohemian Club, Galerías Pacífico, Buenos Aires
Primera Exposición Internacional de Arte MADI, Ateneo of Montevideo
1945 Primera Exposición de Arte Concreto Invención, at the home of Dr. Enrique Pichon-Rivière,
Buenos Aires
Segunda Exposición Arte Concreto Invención, at the studio of Grete Stern, Buenos Aires
1944 Group show with works by Arden Quin, Tomas Maldonado, Lidy Prati, and Oscar
Nuñez, Galería Conte, Buenos Aires
1936 Exposición a favor de los republicanos españoles, Ateneo of Montevideo
Selected Collections
Blanton Museum of Art, University of Texas, Austin
Centre National des Arts Plastiques, Puteaux, France
Daros Latin America Collection, Zurich
Harvard Art Museums, Cambridge, MA
Los Angeles County Museum of Art
Museum of Fine Arts, Houston
Museum of Modern Art, New York
Patricia Phelps de Cisneros Collection, Caracas
Tate Americas Foundation
Source:
https://www.leontovargallery.com/carmelo-arden-quin
https://durbansegnini.com/artists/carmelo-arden-quin/
