III Edition of Venezuela Art Fair

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VenezuelanArtFair_6.8.23_Hideki_Aono_SML-78

III Edition of Venezuela Art Fair Delivers Impressive Turnout
Venezuela Art Fair Emerges as a Cultural Exchange Hub, Fostering Inclusivity

Venezuela Art Fair’s III Edition, held from June 8th to 11th, captivated attendees not only with its diverse range of artistic disciplines such as photography, music, painting, cinema, and theater but also with its vibrant and contemporary Venezuelan artistic style.

Venezuela Art Fair (June 2023): The colorful display of art, cultural exchange, inclusivity, and the opportunity to experience a wide range of artistic expressions, including photography, music, painting, cinema, theater, and more, left over 600 attendees captivated at the III Edition of Venezuela Art Fair, held in New York from June 8th to 11th.

Art enthusiasts flocked to the One Art Space – TriBeCa located at 23 Warren Street NY 10007, from the opening day of the fair, throughout the following days of the event with its extensive and captivating Venezuelan-style agenda, until its grand closing as a multicultural event of export-quality.

Alexandra Álvarez, director of Venezuela Art Fair, and Yuri Uzcátegui, co-producer, expressed their satisfaction not only with the inclusion of digital art platforms featuring multiple Hispanic artists and Venezuelan residents from their home country but also with the active participation of artists with disabilities in both the virtual art exhibition and short film showcase.

Regarding the fulfillment of expectations for this third edition, they mentioned the growth in sponsors, a testament to the trust and support garnered by the event, which, through perseverance and dedication, has gained recognition among art connoisseurs.

Furthermore, the recognition from the public, the participation, and the awards have yielded positive results, with 93.8% of visitors rating their experience as satisfactory. Additionally, five artists residing in Venezuela won the contest to participate virtually, opening doors and opportunities to internationalize their talents.

Renier Casanova, an artist from Caracas, Venezuela, won the competition sponsored by Indie Works and showcased his printed artwork “En Espera del Final” at the gallery, ultimately selling it. This achievement not only provides him with income from abroad but also establishes the fair as a viable source of employment for Venezuelans both inside and outside the country. The artist Elizabeth Chirino, selected by sponsor Indie Works, received a special mention, as did Boris Valero, Maria Fiorella, and Hector Urdaneta, sponsored by Blick Art Materials.

Other highlights from the III Edition of Venezuela Art Fair include the presence of filmmaker Diego Márquez, who traveled from Italy to attend the fair, and artist Carlos Porras, who also made the journey from Venezuela to participate in the event.

The organizers added that the fair attracted visitors from Canada who had heard about the event and traveled specifically to witness it, reflecting the Venezuela Art Fair’s strong reputation. Furthermore, the majority of attendees hailed from New York, followed by visitors from New Jersey, Florida, and various parts of the United States.

Álvarez and Uzcátegui summarized this edition of Venezuela Art Fair as a realization of new opportunities for Venezuelan-style art. They forged new alliances with crypto art platforms, ventured into the world of NFTs, and already began planning the IV Edition of Venezuela Art Fair, which will take place in a larger venue with a special area dedicated to Hispanic artists and a focus on incorporating fashion for the fourth edition.

ARTISTS

*Victoria Morales @juguitodeanana

Flavia Ocando @elartedeflavia

Josix Lozada @josix_design

*Caro @caromoonstar.art

Maria Colmenares @malu_art

Douglas Gil. @douglasgil7art

*Ramón León @ramon3ciclo

Maria Fiorella @shetravelsandpaints

JJ Gonzalez Acosta @artjjdesign

*Roxy Flores @Roxymandalas

*Francisco Hernandez @paintingsbychesco

*Elizabeth Chirinos @elinoutienda

Jose Llavaneras @llavanerasart16

Mariana Paskins @marianapaskins

Marian Gomez @mariansgomez

Boris Valero @borisgesus_

RAFAEL CARABANO @rafaelcarabanofineart

CLARET GARCIA MILANO @claretstudioart

*Patricia calero @patica.lero

*Martin Mendoza @martinmendoza3693

*Hector Urdaneta @urdanetart

David Capiello @david_capielloart

Esteban Monsalve @estebanmonsalveu

Raida Madriz @raidaart

*Renier Casanova @renier_casanova

Jorge King @jorgeking

VIRTUAL

Marianella Antonetti @marianellaantonettiart

Carlos Luis Sánchez Becerra @majenye

Eduardo Olivar @jocedu

Ana Carolina Acevedo @anitacarolinaacevedo

Paola Rios @fairypao__

Milthon Cuevas @artxiety42

Irantzu Venegas @emotionarte2020

Camilo Márquez Roa @cannubal

Jesús Luciani @jesusluciani24

Estefania Nasato @artefania.creacions

Brayan Alexander Uzcategui Olivero @u.oliverobrayan

Billy Spence @billyspenceart

Inés Mercedes Fernández Estevez @kyo_art1

Martha yeseina Uzcátegui Guerra @myfreesoul_for_he

Ruben Fonseca @s.art_rf

*Space Art @spaceart_io

Performance:

Tenor Opening: David Capiello @david_capielloart

Dancer Opening: Joselyn Salomon @joselynesalomondancer

Musician opening: Tambor y Caña @tambornyc

Violinists: Samuel Marchan @samva4

Reina H. @challenges_inlife

Performance Theater: Hector Cabrera @tfainyc

Performance Closing: Julie Garcia @juliegarciamilano

Collaborators:

Up Magazine @up__mag

Sour Mouse @sourmousenyc

Saturno Creative Studios @saturno.creativestudios

The Field @thefieldnyc

TFAI New York City @tfainyc

Polar @cervezapolarny

Yanomami Foundation @yanomamifoundation

CUMEES @juliegarciamilano

Humos NY @humosny

Sophocles Plokamakis – Starts Show @startshows

Rachael N. Clark – Queen Of Hearts @queenofheartsglobal

Irv Ortego @tmjartscollective

Carlos Eduardo Porras @carlosbelart_

Artisan Bakery & Grill @artisanbakeryandgrill

Sponsors

Magic Bakery New York @magic_bakery_ny

Indigo Events @indigoeventsny

Otro Level Print @otrolevel1

Indie Works @indie.works

Always together @alwaystogetherdesigns

NTF Crypto Art Labs @nftcryptod

Craize @gocraize

Liquid Death @liquiddeath

Art, Basel + Beyond @artbaselandbeyond

Blick Art Materials @blickartmaterial

EZ Paella @ezpaella

Casalu @drinkcasalu

STAFF:

Alexandra Alvarez – Director and Producer @alexillustra

Yuri Uzcategui – Co-producer / PR Manager @yuriyurtrika

Zulimar Mendoza – Production Assistant @zulimiau

Karina Freites – PR Representative / Marketing @rubbycobain

Francieli Poleo – Brand Manager @yosoyfrancisdesign

Miler Angulo – Documentary Filmmaker @thecollagemind

Daniel Galue – Logistics @daugustus

Andreina Gómez – Films Curator @andreinagomezfilms

Alfonzo Prieto – New Jersey PR Representative @alfonzoprietov

Press Writer: Irama Flores.

Production: Guaicora Studios LLC @guaicorastudios

Contemporary Artist Marketing Strategies

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Editorial

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The art world is constantly changing, and so are the marketing strategies that contemporary artists use to reach a wider audience, increase your visibility, and promote your artwork. Here are a few of the most effective strategies for marketing your art in the 21st century:

Develop a Brand Identity: Define your unique artistic style, philosophy, and story. Craft a compelling artist statement and create a consistent visual identity that reflects your work. This will help you stand out and establish a memorable brand.
Create a strong online presence: Create a professional website or portfolio to showcase your artwork and provide information about your exhibitions, awards, and achievements. Use high-quality images and engaging descriptions. Additionally, establish a presence on social media platforms relevant to the art community, such as Instagram, Facebook, Pinterest, Youtube, and LinkedIn. Regularly share updates, behind-the-scenes content, and insights into your artistic process. Use your online presence to showcase your new work, share your story, and exhibitions, and connect with potential collectors and curators.
Get involved in the art community: Attend art fairs, exhibitions, and other events. Meet other artists, curators, and collectors. Get involved in art organizations and online forums. The more people you know in the art world, the more likely you are to sell your work. Interact with your followers and art enthusiasts online by responding to comments, participating in discussions, and sharing your knowledge and experiences. Engaging with your audience fosters a sense of connection and loyalty.
Collaborate and Network: Collaborate with other artists, curators, galleries, and influencers to expand your reach and tap into new audiences. Attend art events, exhibitions, and industry conferences to network with fellow artists, collectors, and professionals in the art world.
Participate in Juried Exhibitions and Art Fairs: Submit your work to juried exhibitions and art fairs that align with your artistic style and target audience. These events provide opportunities to showcase your artwork to a larger audience, gain recognition, and connect with potential buyers and collectors.
Seek Press Coverage: Reach out to local and international art publications, blogs, and journalists to share your story and promote your artwork. Press coverage can significantly increase your visibility and credibility as an artist.
Online Sales and E-commerce: Set up an online store or partner with reputable online art platforms to sell your artwork directly to collectors worldwide. Ensure your e-commerce platform is user-friendly and secure, and showcases your artwork effectively.
Art Competitions and Grants: Apply for art competitions and grants that provide funding, exposure, and recognition to emerging and established artists. Winning or being shortlisted in prestigious competitions can significantly boost your career and open doors to new opportunities.
Collaborate with Businesses and Nonprofits: Explore partnerships with businesses, nonprofits, and organizations that align with your artistic values. Collaborative projects, commissions, or donations can expand your audience and create mutually beneficial relationships.
Promote your work through traditional channels: This includes submitting your work to galleries, magazines, and newspapers. You can also send out press releases and create print materials such as postcards and brochures.
Partner with other artists: Collaborate on projects, exhibit together, and cross-promote each other’s work. This is a great way to reach a wider audience and build a strong network of support.
Don’t be afraid to experiment: There are no hard and fast rules when it comes to marketing art. The best way to find what works for you is to experiment and try new things.

Marketing your art can be challenging, but it’s also an essential part of being a successful artist. By following these strategies, you can increase your chances of selling your work and building a successful career.
Here are some additional tips for marketing your art:
• Be clear about your goals. What do you want to achieve with your marketing efforts? Do you want to sell more work? Get more exposure? Build a following? Once you know what you want to achieve, you can tailor your marketing strategies accordingly.
• Be consistent. Marketing is a long-term game. It takes time and effort to build a successful marketing campaign. Don’t expect to see results overnight. Just keep at it and be consistent with your efforts.
• Be yourself. The art world is full of talented artists. What makes you different? What sets your work apart from the rest? Don’t be afraid to let your personality shine through in your marketing efforts.
Marketing your art can be a lot of work, but it’s also an incredibly rewarding experience. By following these tips, you can increase your chances of success and build a successful career as an artist. Consistency and persistence are key in implementing these marketing strategies. Continually refine and adapt your approaches based on feedback and data to optimize your outreach efforts. Building a successful art career requires both artistic talent and effective marketing skills.

GEGO

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Editorial

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Gego artwork Guggenheim Museum - Photo credit: Artmiamimagazine.com

GEGO (Gertrud Goldschmidt). Hamburgo 1912- Caracas 1994

Gego nace en la ciudad alemana de Hamburgo en agosto de 1912 y se gradúa en Ingeniería, mención Arquitectura en la Universidad de Stuttgart, Alemania, en 1938. Un año después, emigra a Venezuela y obtiene en 1952 la nacionalidad venezolana.

En el año 1940 conoce al empresario alemán Ernst Gunz con quien contrae matrimonio. Con su apoyo crea el Taller Gunz, dedicado al diseño y elaboración de muebles y lámparas. En paralelo realiza varios proyectos para arquitectos.

En 1948 diseña y construye dos casas en la urbanización Los Chorros, Quintas El Urape y Tulipán. El Urape fue su residencia por tres años.

Se separa de Ernst Gunz en el año 1952.

Entre los años 1953 y 1955 se residencia en el pueblo de Tarma, en el litoral central venezolano, con Gerd Leufert, quien fue su compañero de por vida y apoyo fundamental para el desarrollo de su obra plástica, para entonces, de tipo paisajista, figurativa y expresionista.

En 1956 regresan a Caracas, donde Gego comienza su producción de obra tridimensional gracias al estímulo de Alejandro Otero y Jesús Soto y se dedica a la docencia, labor que desarrolló entre los años 1958 y 1977 en instituciones educativas en Venezuela, como:

· Escuela de Artes Plásticas Cristóbal Rojas (1958 – 1959).

· Facultad de Arquitectura de la Universidad Central de Venezuela (1960 – 1962).

· Instituto de Diseño, Fundación Neumann – INCE (1964 – 1977), de la cual fue miembro fundador

Gego en 1959 acompaña a Gerd Leufert quien realiza estudios en Iowa State University, allí la artista trabaja en los talleres de la universidad y en el Taller Lasansky.

Luego, en el año 1960, estudia y trabaja en el taller Threitel-Gratz Co. en Nueva York, en el que realiza grabados y esculturas. En el mismo año, en Caracas, en conjunto con otros artistas gráficos forman el Taller de Grabado (TAGA).

En el año 1963 Gego cursa estudios de especialización en sistemas pedagógicos en la Universidad de Berkeley en California, becada por el Consejo de Desarrollo Científico y Humanístico (CDCH) de la Universidad Central de Venezuela. Ese mismo año asiste con una beca de Art fellow al Tamarind Lithography Workshop en Los Ángeles y realiza numerosos grabados en el taller del Pratt Graphic Art Institute en Nueva York.

Entre los años 1966 y 1967 estudia y trabaja en el Tamarind Lithography Workshop en Los Ángeles.

A partir de 1967 la artista se dedica a la docencia y a desarrollar su obra plástica en Caracas.

SU OBRA

Variada y cambiante, la obra de Gego se mantiene íntegra y vinculada por las nociones que sobre el espacio la artista se plantea. Acuarelas, dibujos, grabados, tejidos de papel y esculturas son prueba de un proceso creativo y de experimentación constante. En todo su trabajo se percibe el poder inmenso de la línea como elemento generador.

Entre 1957 y 1969, Gego realiza su obra basándose fundamentalmente en trazos equidistantes, etapa denominada Líneas Paralelas. por Iris Peruga, curadora de la exposición Gego 1955-1990, realizada en el Museo de Bellas Artes Caracas 2000-2001.

Dibujos, grabados y esculturas plantean, su interés por el espacio, la transparencia y la estructura, lo que también plasma en su obra de intervención arquitectónica.

A partir de 1969 Gego se despoja de los materiales rígidos para la elaboración de sus obras tridimensionales. Comienza a realizar dibujos con líneas entrecruzadas formando redes planas y moduladas. Desde entonces, con mayor flexibilidad configura espacios diferentes según sea la asociación y los enlaces de las redes, creando un universo de conexiones. De ello dan testimonio sus obras llamadas Reticuláreas, Troncos y Esferas, que caracterizan esta fase de su trabajo y por la cual es más conocida. Esta época prepara el camino para un tránsito más libre en su quehacer artístico, cuando a partir de 1976 abandona toda idea de composición preconcebida con los llamados Dibujos Sin Papel y más tarde, con sus Bichitos, para los que usa material de desecho en composiciones aparentemente arbitrarias (Peruga,2001).

Entre los años 1988 y 1991 desarrolla la última fase de su obra con las Tejeduras, pequeñas composiciones a base de tiras de papel entretejidas, en las que sintetiza sus encuentros con el espacio.

GEGO realizó en Caracas varias obras de gran formato, armónicamente integradas a espacios arquitectónicos.

Fallece en Caracas el 17 de septiembre de 1994.

La obra de GEGO fue merecedora de múltiples reconocimientos, entre los que destacan los siguientes:

· Primer Premio de Dibujo, IV Exposición Nacional de Dibujo y Grabado, Facultad de Arquitectura y Urbanismo, Universidad Central de Venezuela, Caracas. 1962.

· 1er Premio de Escultura XII Salón D’Empaire de pintura y escultura. Maracaibo.1967

· Premio Adquisición, XXVIII Salón Oficial Anual de Arte Venezolano, Museo de Bellas Artes, Caracas. 1967.

· Premio Nacional de Dibujo, en el XXIX Salón Oficial Anual de Arte. Dibujo y Grabado. Museo de Bellas Artes, Caracas. 1968.

· Premio Bolsa de Trabajo, Salón Las Artes Plásticas en Venezuela, Museo de Bellas Artes, Caracas. Abril 1972.

· Premio de Adquisición. Salón Las Artes Plásticas en Venezuela, Museo de Bellas Artes, Caracas. 1976.

· Orden Andrés Bello. Venezuela. 1976

· Premio Nacional de Artes Plásticas. Salón Las Artes Plásticas en Venezuela, Museo de Bellas Artes, Caracas. 1979.

Su obra está representada en museos, instituciones y colecciones públicas y privadas dentro y fuera del país, tales como:

· Museo de Bellas Artes, MBA. Caracas, Venezuela.

· Galería de Arte Nacional, GAN, Caracas, Venezuela.

· Museo de Arte Contemporáneo, MAC, Caracas, Venezuela.

· Museo de Barquisimeto, Lara, Venezuela.

· Museo de Arte Contemporáneo Francisco Narváez, Nueva Esparta, Venezuela.

· Museo de Arte Latinoamericano de Buenos Aires, MALBA.

· Fundación de Museos Nacionales, Caracas, Venezuela

· The Museum of Modern Art, MoMA, Nueva York.

· The Museum of Fine Arts, MFAH, Houston.

· Jack S. Blanton Museum of Art, Austin.

· University of New México Art Museum

· Norton Simon Museum, Pasadena USA

· NY Public Library

· Museo de Arte Contemporáneo de Barcelona, MACBA.

· Chicago Art Institute

· Tate Modern, Londres, UK

· Museo Reina Sofía, Madrid España

· Fundación Polar, Caracas, Venezuela

· Colección Banco Mercantil, Caracas, Venezuela,

· Facultad de Arquitectura y Urbanismo, Universidad Central de Venezuela.

· Instituto Venezolano de Investigaciones Científicas. IVIC. Caracas.

· Banco Industrial de Venezuela,

· Instituto Nacional de Capacitación y Educación

· Fundación Empresas Polar, Caracas, Venezuela

· Colección Patricia Phelps de Cisneros.

· FP Allegro.

· Colección Oberto

· Ella Fontanals-Cisneros CIFO

· Estrellita Brodsky Collection

· Pablo y Tinta Henning Collection

· Agnes Gund Collection

· Roberto Storr Collection

· Violy MC Causland Collection

· Latin Collector Center

· Daros Latinoamérica

· Diane and Bruce Halle Collection

· Clarissa Brofmann Collection

· Colección DOP

· Sicardi Collection

. Kunstmuseum Stuttgart

. Henry Moore Institute

. Hamburger Kunsthalle

· Custodia Fundación Gego

. Colecciones de los herederos

EXPOSICIONES INDIVIDUALES

2023

Lines in Space. LGDR, Nueva York, 07/06/2023 – 07/07/2023

Gego: Midiendo el infinito. Museo Guggenheim Bilbao, Bilbao, 07/11/2023 – 04/02/2024

Gego: Measuring Infinity. Museo Solomon R. Guggenheim, Nueva York, 31/03/2023 – 10/09/2023

Lines: here and there. Sicardi Gallery, Houston, 26/01/2023 – 16/03/2023

2022

Gego: Midiendo el infinito. Museo Jumex, Ciudad de México, 19/10/2022 – 19/02/2023

Gego. The Architecture of an Artist. Kunstmuseum Stuttgart, Stuttgart, 18/02/2022 – 10/07/2022

Lines in Space. Galería LGDR, París, 24/11/2022 – 14/01/2023

Gego: Espacio y transparencia. Galería RGR, Ciudad de México, 24/11/2022 – 14/01/2023

2019

La línea es el recorrido. Odalys Galería de Arte, Madrid, 13/07/2019 – 30/09/2019

Gego: a linha emancipada. Museu de Arte de São Paulo Assis Chateaubriand (MASP), Sao Paulo, 13/12/2019 – 01/03/2020

Incertidumbres espaciales. Museo de Arte Contemporáneo de Caracas Armando Reverón (MACCAR), Caracas, 01/10/2019

2017

Between the Lines: Gego as Printmaker. Amon Carter Museum, Fort Worth, 07/02/2017 – 06/08/2017

Gego. Faszination Linie. Kunstmuseum Stuttgart, Stuttgart, 18/11/2017

2016

Gego: Autobiography of a Line. Dominique Lévy Gallery, Londres, 25/05/2016 – 30/07/2016

2015

Gego: Autobiography of a Line. Dominique Levy Gallery, Nueva York, 10/09/2015 – 24/10/2015

2014

Gego. Poétique de la ligne. Maison de l ́Amerique Latine, París, 14/02/2014 – 14/05/2014

Gego: Line as Object. Kunstmuseum Stuttgart, Stuttgart, 28/03/2014 – 29/06/2014
Gego: Line as Object. Henry Moore Institute, Leeds, 24/07/2014 – 19/10/2014

2013

Gego. Tejeduras, Bichitos y Libros. Periférico Caracas / Arte Contemporáneo, Caracas, 05/05/2013 – 16/06/2013

Gego sobre papel. El trazo transparente: selección de dibujos y obra gráfica de Gego. Museo de la Estampa y del Diseño Carlos Cruz Diez (MEDI), Caracas, 31/05/2013 – 26/01/2014

Gego: Line as Object. Hamburger Kunsthalle, Hamburgo, 29/11/2013 – 02/03/2014

2012

Gego. Procedencia y encuentro. Sala Mendoza, Caracas, 27/05/2012 – 19/08/2012

Gego. Colección Mercantil. Espacio Mercantil, Caracas, 29/04/2012 – 05/08/2012

Gego: Origin and Encounter. Mastering the Space. Americas Society, Nueva York, 29/09/2012 – 09/12/2012

Gego: construcciones tangentes. Galería de Arte Nacional (GAN), Caracas, 29/07/2012

2011

Gego: Prints & Drawings 1963 -1991. Frederico Sève Gallery, Nueva York, 25/05/2011 – 07/07/2011

2008

Gego, arquitecto. Galería Universitaria de Arte – UCV, Caracas, 27/03/2008 – 11/05/2008

2007

Gego: Between Transparency and the Invisible. The Drawing Center, Nueva York, 20/04/2007 – 21/07/2007

Gego, arquitecto. Centro de Arte de Maracaibo Lía Bermúdez (CAMLB), Maracaibo, 01/07/2007 – 24/09/2007

Gego, arquitecto. Museo de Arte Moderno Jesús Soto (MAMJS), Ciudad Bolívar, 04/11/2007 – 20/01/2008

2006

Gego: desafiant estructures. Museu d’Art Contemporani de Barcelona (MACBA), Barcelona, 08/11/2006 – 14/01/2007

Gego: desafiando estructuras. Museu Serralves de Arte Contemporânea, Oporto, 28/7/2006 – 15/10/2006

Gego: entre la transparencia y lo invisible. Biblioteca Luis Ángel Arango, Bogotá, 28/06/2006 – 11/09/2006

Gego: entre la transparencia y lo invisible. Museo de Arte Latinoamericano de Buenos Aires (MALBA), Buenos Aires, 15/03/2006 – 15/05/2006

Gego, arquitecto. Trasnocho Arte Contacto (TAC), Caracas, 06/08/2006 – 24/09/2006

2005

Gego: Between Transparency and the Invisible. The Museum of Fine Arts, Houston (MFAH), Houston, 26/06/2005 – 25/09/2005

2004

Ruth Vollmer & Gego: Thinking the Line. Miami Art Museum (MAM), Miami, 21/09/2004 – 14/11/2004

Gego: anudamientos. Sala Mendoza, Caracas, 25/04/2004 – 23/05/2004

2003

Gego (Gertrud Goldschmidt). Sicardi Gallery, Houston, 18/09/2003 – 18/10/2003

2002

Gego: Works on Paper, 1962-1991. Latin Collector Art Center, Nueva York, 16/05/2002 – 07/07/2002

Gego, 1955-1990: una selección. Museo de Arte Contemporáneo de Monterrey (MARCO), Monterrey, 21/06/2002 – 01/10/2002

Gego, 1955-1990: una selección. Museo Tamayo Arte Contemporáneo, Ciudad de México, 05/12/2002 – 16/02/2003

Questioning the Line: Gego, A Selection, 1955-90. The Museum of Fine Arts, Houston (MFAH), Houston, 02/03/2002 – 19/05/2002

2001

Gego, 1955-1990: sinopsis. Museo de Bellas Artes (MBA), Caracas, 27/05/2001 – 08/07/2001

2000

Gego 1955-1990. Museo de Bellas Artes (MBA), Caracas, 16/11/2000 – 29/04/2001

1996

Gego: dibujos, grabados y tejeduras. Centro Cultural Consolidado, Caracas, 19/09/1996 – 10/11/1996

1994

Gego: una mirada a su obra. Museo de Arte Contemporáneo de Caracas Sofía Ímber (MACCSI), Caracas, 20/11/1994 – 29/01/1995

1990

Tejeduras. Galería Sotavento, Caracas, 07/10/1990 – 28/10/1990

1988

Gego: obras recientes. Galería Sotavento, Caracas, 13/03/1988 – 17/04/1988

1985

Gego, Dibujos. Museo de Barquisimeto, Barquisimeto, 14/07/1985 – 01/09/1985

[Sin título]. Maracaibo, 1985

1984

Gego: Dibujos sin papel. Museo de Bellas Artes (MBA), Caracas, 24/06/1984 – 01/08/1984

1982

Acuarelas de Gego. Galería de Arte Nacional (GAN), Caracas, 04/07/1982 – 08/08/1982

1981

Reticulárea. Galería de Arte Nacional (GAN), Caracas, 08/03/1981

1980

Variaciones sobre reticuláreas: en homenaje a Gego. Sala Cadafe – Museo de Arte Contemporáneo de Caracas, Caracas, 07/05/1980

1977

Gego. Museo de Arte Contemporáneo de Caracas (MACC), Caracas, 23/09/1977 – 23/10/1977

1975

Gego: dibujos para proyectos. Instituto de Diseño – Fundación Neumann-Ince, Caracas, 06/05/1975 – 20/05/1975

1973

Dibujos recientes. Galería Conkright, Caracas, 1973

1972

Estructuras (doble curvatura). Galería Conkright, Caracas, 1972

1971

Gego: Sculpture and Drawings. Betty Parsons Gallery, Nueva York, 13/04/1971 – 01/05/1971

Esculturas 1971. Galería Conkright, Caracas, 17/10/1971

1970

Gego. Betty Parsons Gallery, Nueva York, 01/03/1970

Gego: obras recientes. Galería Conkright, Caracas, 1970

Gego Drawings. The Graphics Gallery, San Francisco, 01/05/1970 – 17/05/1970

Gego: Dibujo. Galería Conkright, Caracas, 05/04/1970

1969

Reticulárea. Museo de Bellas Artes (MBA), Caracas, 01/06/1969 – 01/07/1969

1968

Sobre papel: litografías de Gego. Museo de Bellas Artes (MBA), Caracas, 10/11/1968

Dibujos de Gego. Galería Conkright, Caracas, 12/05/1968 – 19/05/1968

Litografías de Gego. Galería UD, Bogotá, 03/07/1968 – 30/07/1968

1967

Gego: Esculturas 1957-1967. Biblioteca Luis Angel Arango, Bogotá, 08/06/1967 – 30/06/1967

Gego. Galería Conkright, Caracas, 12/11/1967

1964

Líneas y entrelíneas: grabados y dibujos de Gego. Museo de Bellas Artes (MBA), Caracas, 02/02/1964 – 16/02/1964

1961

Dibujos recientes de Gego. Museo de Bellas Artes (MBA), Caracas, 29/01/1961

1958

Esculturas y guaches. Librería Cruz del Sur, Caracas, 09/05/1958 – 24/05/1958

EXPOSICIONES COLECTIVAS

1954

· XV Salón Oficial Anual de Arte Venezolano. Museo de Bellas Artes, MBA. Caracas. Venezuela

1955

· XVI Salón Oficial Anual de Arte Venezolano. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Venezolanische Impressionen 1954. Galerie Wolfgang Gurlitt. Munich. Alemania

1957

· XVIII Salón Oficial Anual de Arte Venezolano. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Collages y Poemas. Galería Sardio. Caracas. Venezuela

· Homenaje a Soto. Centro Profesional del Este. Caracas. Venezuela

· Arte Abstracto en Venezuela. Galería Don Hatch. Caracas. Venezuela

1958

· Exposición-subasta homenaje a los fundadores de la Escuela del año 1936. Escuela de Artes Plásticas y Artes Aplicadas Cristóbal Rojas. Caracas. Venezuela

· XIX Salón Oficial Anual de Arte Venezolano. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Peintures, sculptures, céramiques du Vénézuéla. Pabellón de Venezuela en la Feria Internacional de Bruselas. Bruselas. Bélgica

· Fundación Cristóbal Rojas. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Primera Feria de Navidad. Museo de Bellas Artes, MBA. Caracas. Venezuela

1959

· XX Salón Oficial Anual de Arte Venezolano. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Pintura y escultura de profesores de la Facultad de Arquitectura. Universidad Central de Venezuela, UCV. Caracas. Venezuela

· I Exposición Nacional de Dibujo y Grabado. Facultad de Arquitectura y Urbanismo, Universidad Central de Venezuela, UCV. Caracas. Venezuela

· Exposición-subasta. Sala de Conciertos, Facultad de Arquitectura y Urbanismo, Universidad Central de Venezuela, UCV. Caracas. Venezuela

1960

· Painting and Sculpture Acquisitions 1959. The Museum of Modern Art, MoMA. Nueva York. Estados Unidos

· Recent Sculpture. David Herbert Gallery. Nueva York. Estados Unidos

· Section Eleven. Betty Parsons Gallery. Nueva York. Estados Unidos

1961

· Gráfica 1. Arte gráfico y publicitario. Museo de Bellas Artes, MBA. Caracas. Venezuela

· XXII Salón Oficial Anual de Arte Venezolano. Museo de Bellas Artes, MBA. Caracas. Venezuela

· De Rodin a nuestros días. Fundación Eugenio Mendoza. Caracas. Venezuela

· III Exposición de Dibujo y Grabado. Exposición de Arte de Profesores y Egresados (1953-1973). Facultad de Arquitectura y Urbanismo. Universidad Central de Venezuela, UCV. Caracas. Venezuela

· Exposición permanente. Galería G. Caracas. Venezuela

· Sin título. Galería El Muro. Caracas. Venezuela

1962

· IV Exposición Nacional de Dibujo y Grabado. Facultad de Arquitectura y Urbanismo, Universidad Central de Venezuela, UCV. Caracas. Venezuela

1963

· 2nd. Biennial Exhibition. Drawings U.S.A. 63. Saint Paul Art Center. Minnesota. Estados Unidos

· II Salón de Joven Escultura. Galería G. Caracas. Venezuela

· V Exposición Nacional de Dibujo y Grabado. Facultad de Arquitectura y Urbanismo, Universidad Central de Venezuela, UCV. Caracas. Venezuela

· Pintura geométrica venezolana 1950-1960. Galería de Arte del INCIBA. Caracas. Venezuela

· I° Bienal Americana de Grabado. Museo de Arte Contemporáneo, Universidad de Chile, Santiago de Chile. Chile

· Sin título. Galleria Profili. Milán. Italia

· Art Annual. Geigy Chemical Gallery. Nueva York. Estados Unidos

1964

· White on White. The Contemporaries. Nueva York. Estados unidos

· Print: The image and the Means. Grunwald Graphic Art Foundation. University of California, UCLA. Art Gallery. Los Angeles. Estados Unidos

· Exposición de obras premiadas en las Exposiciones Nacionales de Dibujo y Grabado. Facultad de Arquitectura y Urbanismo, Universidad Central de Venezuela, UCV. Caracas. Venezuela

· One Hundred Contemporary Prints. Pratt Graphic Art Center. Jewish Museum. Nueva York. Estados Unidos

· III Salón de Joven Escultura. Galería G. Caracas. Venezuela

· Grabados en Venezuela. Centro de Bellas Artes. Maracaibo. Venezuela

· VI Exposición Nacional de Dibujo y Grabado. Facultad de Arquitectura y Urbanismo. Universidad Central de Venezuela, UCV. Caracas. Venezuela

· World Show. Washington Square Galleries. Nueva York. Estados Unidos

1965

· The Responsive Eye. Museum of Modern Art, MoMA. Nueva York. Estados Unidos

· Nach Schwäbischem Rezept am Broadway Litographiert. Amerika Haus. Stuttgart. Alemania

· Venezuelan. Glass Gallery. Nueva York. Estados Unidos

· Grabadores venezolanos. Fundación Eugenio Mendoza. Caracas. Venezuela

· The Braniff International Airways Collection. 107 South Americans Artists. University of Texas. Austin. Estados Unidos

· VII Exposición Nacional de Dibujo y Grabado. Facultad de Arquitectura y Urbanismo. Universidad Central de Venezuela, UCV. Caracas. Venezuela

· Salón de Escultura. Ateneo de Caracas. Caracas. Venezuela

1966

· Art of Latin America Since Independence.

– Yale University Art Gallery. Connecticut. Estados Unidos

– University of Texas Art Museum. Texas. Estados Unidos

– San Francisco Museum of Art. California. Estados Unidos

– La Jolla Museum of Art. San Diego. Estados Unidos

– Isaac Delgado Museum of Art. New Orleans. Estados Unidos

· Movimiento y color. Galería Conkright. Caracas. Venezuela

· Persistencia de la imagen 1945-1955. Galería 22. Caracas. Venezuela

1967

· XXVIII Salón Oficial Anual de Arte Venezolano. Museo de Bellas Artes, MBA. Caracas. Venezuela

· 17 Artistas venezolanas. Galería Universitaria de Arte. Universidad Central de Venezuela, UCV. Caracas. Venezuela

· Recent Latin American Art. Museum of Modern Art, MoMA. Nueva York. Estados Unidos

· Kleinplastiek uit Venezuela in Madurodam (Dutch Festival). Madurodam. Holanda

· XII Salón D’Empaire. Pintura y Escultura. Concejo Municipal de Maracaibo. Maracaibo. Venezuela

· Grabados 1967. Fundación Eugenio Mendoza. Caracas. Venezuela

· Confrontación 67. Ateneo de Caracas. Caracas. Venezuela

· Tapices del Taller Fundación Neumann. Sala Mendoza. Caracas. Venezuela

1968

· Tres grabadores: Gego, Chacón, Guevara. Galería XX2. Caracas.Venezuela

· Sculpture, Murals and Fountains at Hemis Fair ’68. San Antonio Fair Inc. San Antonio. Estados Unidos

· XXIX Salón Oficial Anual de Arte Venezolano de Dibujo y Grabado. Museo de Bellas Artes, MBA. Caracas. Venezuela

· La Escultura y sus posibilidades. Museo de Ciencias Naturales. Caracas. Venezuela

· New Dimensions in Lithography. An Exhibition Recently Selected from The Tamarind Lithography Workshop. Fisher and Quinn Galleries, Southern California University. California. Estados Unidos

· Pintura y grabado hoy en Venezuela. Biblioteca Luis Ángel Arango. Bogotá. Colombia

· Movimiento y color. Galería Conkright. Caracas.Venezuela

1969

· Dibujos. Galería Conkright. Caracas. Venezuela

· Latin America: New Paintings and Sculpture. Juan Downey, Agustín Fernández, Gego, Gabriel Morera. Center for Inter-American Relations Art Gallery. Nueva York.

· El arte cinético y sus orígenes. Ateneo de Caracas. Caracas. Venezuela

1970

· Primera Bienal de San Juan del Grabado Latinoamericano. Instituto de Cultura Puertorriqueña. San Juan de Puerto Rico

· 41^st International Exhibition, Northwest Printmakers. Seattle Art Museum Pavilion. Seattle. Estados Unidos

1971

· Tamarind: A Renaissance of Lithography. A Loan Exhibition from the Tamarind Lithography Workshop. International Exhibition Foundation. California. Estados Unidos

· Second Annual Shasta College Invitational. Shasta College Art Departament, Readding. California. Estados Unidos

· Pintura Geométrica Venezolana. 1950-1960. Galería de Arte-INCIBA. Pro-Venezuela. Caracas. Venezuela

1972

· Las Artes Plásticas en Venezuela. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Ill ^éme Exposition Internationale de Dessins Originaux Moderna. Galerija Rijeka. Yugoslavia.

· Escrituras. Museo de Bellas Artes, MBA. Caracas. Venezuela

1973

· Las Artes Plásticas en Venezuela 1973. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Exposición Grupo. Galería Conkright. Caracas. Venezuela

· Dibujo. Sala Mendoza. Caracas. Venezuela

1975

· Proposiciones para la arquitectura. Encuentro de artistas plásticos y arquitectos. Living Art Gallery. Caracas. Venezuela

· Breve historia del grabado en metal. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Relaciones y contrastes en la pintura venezolana. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Art´75. Galería Adler Castillo. Caracas. Venezuela

· 7^e Biennale Internationale de la Tapisserie. Musée Cantonal des Beaux Arts. Lausanne. Suiza

· Gego, Otero y Negret. Galería Adler Castillo. Caracas. Venezuela

· Dibujos y acuarelas. Sala de Exposiciones. Fundación Eugenio Mendoza. Caracas. Venezuela

1976

· Homenaje a Pablo Neruda. Universidad Central de Venezuela, UCV. Caracas. Venezuela

· 75 Artistas. Colección Estuardo Maldonado. Museo del Banco Central del Ecuador. Quito. Ecuador

· Inauguración Nueva Ala del Museo de Bellas Artes. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Breve Historia del Grabado en Metal. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Las Artes Plásticas en Venezuela 1976. Museo de Bellas Artes, MBA. Caracas. Venezuela

1977

· Nuevas proposiciones. Casa de Bello. Caracas. Venezuela

· Arte contemporáneo venezolano. Galería de Arte Nacional, GAN. Caracas. Venezuela

· Expo-Gráfica Venezolana. Galleria Marconi VI. Rome. Italia

· Arte actual de Iberoamérica. Centro Cultural de la Villa de Madrid. Madrid. España

1978

· Pequeña historia del dibujo en Venezuela. Estudio Actual. Caracas. Venezuela

· Jornadas de Venezuela en París. UNESCO-CONAC. París. Francia

· 12 Artistas venezolanos en la colección del Museo de Arte Contemporáneo de Caracas. Sala Cadafe. Museo de Arte Contemporáneo de Caracas, MACC. Caracas. Venezuela

· La escultura contemporánea en Venezuela. Galería de Arte Nacional, GAN. Caracas. Venezuela

· La mano, la seda, el color. Estampas sobre seda de nueve artistas venezolanos. Taller Cobalto. Museo de Arte Contemporáneo de Caracas, MACC. Caracas. Venezuela

1979

· Gráfica venezolana.

– Museo de Bellas Artes, MBA. Caracas. Venezuela

– Galería de Arte Nacional, GAN. Caracas. Venezuela

· Arte constructivo venezolano 1945-1965. Génesis y Desarrollo. Galería de Arte Nacional, GAN. Caracas. Venezuela

· Salas protocolares del Aeropuerto Internacional Simón Bolívar. Aeropuerto Simón Bolívar. Maiquetía. Venezuela

1980

· Materia y forma. Comandancia General de las Fuerzas Armadas. Caracas. Venezuela

1981

· Los Premios Nacionales. Pintura y Escultura. Galería de Arte Nacional, GAN. Caracas. Venezuela

1982

· Los nuevos dibujantes en Venezuela. Compañía Anónima Nacional Teléfonos de Venezuela, CANTV. Caracas. Caracas

· Spielraum-Raumspiele. Alte Oper. Frankfurt. Alemania

· TAGA. Taller de Artistas Gráficos Asociados. Embajada de Venezuela. París. Francia

1983

· Cuatro décadas de pintura y escultura de América en colecciones venezolanas: 1940-1980. Museo de Arte La Rinconada. Caracas. Venezuela

1984

· II Bienal de Escultura. Museo de Arte Contemporáneo Francisco Narváez. Porlamar. Venezuela

· Escultores venezolanos al Maestro Gallegos. Consejo Municipal del Distrito Federal. Caracas. Venezuela

· Adquisiciones y donaciones 1982-1983. Museo de Bellas Artes, MBA. Caracas. Venezuela

· 16 de la A a la Z. Galería Miguel & Fuenmayor. Caracas. Venezuela

1985

· Arte en metal. Galería Arte Hoy. Caracas. Venezuela

· Encuentro Nacional de Escultores. Fundarte. Caracas.Venezuela

1986

· Integración, el espacio, el plano. Galería Espacios Cálidos, Ateneo de Caracas. Caracas. Venezuela

· Caracas urbana. Museo de Arte La Rinconada. Caracas. Venezuela

· Panorama del arte venezolano contemporáneo. Galería Rolando Rugeles. Caracas. Venezuela

1988

· Arte de América. Selección de obras de la colección. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Interacción en otra escala. Galería Sotavento. Caracas. Venezuela

· La imaginación de la transparencia. Museo de Bellas Artes, MBA. Caracas. Venezuela

· El espíritu latinoamericano: arte y artistas en los Estados Unidos, 1920-1970.

– Museo de Artes del Bronx. Nueva York. Estados Unidos

– Museo de Arte de El Paso. Texas. Estados Unidos

– Museo de Arte de San Diego. San Diego. Estados Unidos

– Instituto de Cultura Puertorriqueña. San Juan. Puerto Rico

– Centro para las Artes Vera Beach. Florida. Estados Unidos

· Catorce artistas. Galería Sotavento. Caracas. Venezuela

1989

· Arte para un cincuentenario. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Arte de los países bolivarianos en Venezuela. Museo de Bellas Artes, MBA. Caracas. Venezuela

1992

· Latin American Artists of the Twentieth Century. Plaza de Armas. Sevilla. España

1993

· Lateinamerikanische Kunst. Museum Ludwig. Köln. Alemania

· Venezuela es así. La Casa de América. Madrid. España

1995

· Mujeres artistas latinoamericanas 1915-1995. Milwaukee Museum of Art. Milwaukee. Estados Unidos

· La década prodigiosa. El arte venezolano en los años sesenta. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Mujeres de hierro en homenaje a Gego. Sala Cultural Corpoven. Caracas.Venezuela

1996

· XXIII Bienal Internacional de Sao Paulo. Salas Especiales. Sao Paulo. Brasil

· Cal. Museo de Arte Contemporáneo de Caracas, MACC. Caracas. Venezuela

· Inside the Visible. An Elliptical Traverse of 20th Century Art (In, Of and from the Feminine).

– The Institute of Contemporary Art. Boston. Estados Unidos

– National Museum of Women in the Arts. Washington DC. Estados Unidos

– Whitechapel. Londres. Inglaterra

– Art Gallery of Western Australia. Perth. Australia

· Gego y Soto. Banco do Brasil Cultural Center. Río de Janeiro. Brasil

1997

· La invención de la continuidad. Galería de Arte Nacional, GAN. Caracas.

· Re-Readymade. Museo Alejandro Otero. MAO,. Caracas.

· Re-Alignig Vision. Alternative Currents in South American Drawings.

– The Neighborhood Museum. Nueva York.

– Arkansas Art Center. Arkansas

1998

· Blanco y negro, Gego y Leufert. Galería de Arte Nacional, GAN. Caracas. Venezuela

· Re-Alignig Vision. Alternative Currents in South American Drawings.

– Archer M. Huntington Art Gallery. Austin. Estados Unidos

· Re-Alineando la mirada. Corrientes alternativas en el dibujo sudamericano.

– Museo de Bellas Artes, MBA. Caracas. Venezuela

– Museo de Arte Contemporáneo de Monterrey, MARCO. Monterrey. México

1999

· Re-Alignig Vision. Alternative Currents in South American Drawings. Miami Art Museum, MAM. Miami. Estados Unidos

· Del siglo que se va. Doce artistas del XX. Espacios Unión. Caracas. Venezuela

· Obras maestras del arte latinoamericano del siglo XX. Biarritz International Festival. Biarritz. Francia

· The Experimental Exercise of Freedom: Lygia Clark, Hélio Oiticica, Gego, Mathias Goeritz & Mira Schendel. The Museum of Contemporary Art, MOCA. Los Ángeles. Estados Unidos

· Recorrido visual, 1899-1999. Galería de Arte Nacional, GAN. Caracas. Venezuela

2000

· Campos de fuerza: Fases del cinético. Museo de Arte Contemporáneo de Barcelona, MACBA. Barcelona.España

· Force Fields: Phases of the kinetic. Hayward Gallery. Londres. Reino Unido

· Heterotopías: Medio siglo sin lugar. (1916-1968). Museo Nacional Centro de Arte Reina Sofía. Madrid. España

· Raumkörper-Netze und andere Gebilde. Kunsthalle Basel. Basilea Suiza

2001

· Geometric Abstraction: Latin American Art from the Patricia Phelps de Cisneros Collection. Fogg Art Museum, Harvard University. Cambridge. Estados Unidos

· Des teriitoires. Ècole Nationale Supériore des Beaux-Arts. París. Francia

· New to the modern. Recent acquisitions from the department of drawings. Museum of Modern Art, MoMA. Nueva York. Estados Unidos

· Geometría como vanguardia.

– Fundación Museo de Arte Moderno Jesús Soto. Ciudad Bolívar. Venezuela

– Fundación Museo de Barquisimeto. Barquisimeto. Venezuela

– Museo de Arte Contemporáneo del Zulia. MACZUL. Maracaibo. Venezuela

– Museo Alejandro Otero, MAO. Caracas. Venezuela

2002

· Arte Brasileira da Segunda Metade do Século XX em Contexto. Colección Cisneros.

– Museu de Arte Moderna de Sao Paulo. Sao Paulo. Brasil

– Museu de Arte Moderna de Río de Janeiro. Rio de Janeiro.Brasil

2003

· Homage Geometria Sensibel -25 Years Later, Sensitive Geometry Recalled. Galería Cecilia de Torres. Nueva York. Estados Unidos

· 50th International Art Exhibition Venice Biennale. The Structure of Survival. Il Arsennale. Venice Biennale. Venecia. Italia

· Líneas. Ursula Blickle Stiftung. Kraichhtal. Alemania

· Thinking the Line: Ruth Vollmer and Gego. Ursula Blickle Stiftung. Kraichtal. Alemania

· Geo-metrías. Abstracción Geométrica Latinoamericana en la Colección Cisneros.

– Museo Nacional de Artes Visuales. Montevideo. Uruguay

-Museo de Arte Latinoamericano de Buenos Aires, MALBA. Colección Costantini. Buenos Aires. Argentina

2004

· Thinking the Line: Ruth Vollmer and Gego.

– Zentrum für Kunst und Medientechnologie, ZKM. Karlsruhe. Alemania

– Neue Galerie am Landesmuseum Joanneum. Graz. Austria

– Miami Art Central, MAC. Miami. Estados Unidos

· MoMA at El Museo: Latin American and Caribbean Art from the Collection of The Museum Modern Art. El Museo del Barrio. Nueva York. Estados Unidos

· Arte y Utopía. La acción restringida. Museo de Arte Contemporáneo de Barcelona, MACBA. Barcelona. España

· Inverted Utopias. Avant-Garde Art in Latin America. The Museum of Fine Arts, MFAH. Houston. Estados Unidos

· Diálogos. Arte latinoamericano del siglo XIX y XX. Colección Cisneros. Museo Nacional de Bellas Artes Santiago de Chile. Santiago de Chile. Chiles

· Beyond geometry. Experiments in form, 1940s-70s.

– Los Angeles Country Museum of Art. Los Ángeles. Estados Unidos

– Miami Art Museum. Miami. Estados Unidos

2005

· Time Lines-Kunstverein für die Rheinlande und Westfalen. Düsseldorf.Alemania

· A contra corriente-Mira Schendel, Gego y Lygia Pape. Fundación Ars Teor Etica. San José de Costa Rica.

· Brought to light: Recent acquisitions in latin american art. The Museum of Fine Arts, MFAH. Houston. Estados Unidos

· Tropical abstraction. Stedelijk Museum Bureau. Amsterdam. Holanda

· Beyond Geography: Forty Years of Visual Art at the Americas Society. Americas Society. New York. Estados Unidos

2006

· Se hace camino al andar. Artistas inmigrantes de ayer venezolanos de hoy. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Espacios Re-Dibujados. 50 años de abstracción en Venezuela. Fundación Corp Group Centro Cultural. Caracas. Venezuela

· Estrecho dudoso. Rutas intangibles. Museo de Arte y Diseño Contemporáneo, MADC. Fundación Ars Teor Etica. San José de Costa Rica

· Feeling the line. Marian Goodman Gallery. New York. Estados Unidos

· Bienal del Aire. Museo de Arte Contemporáneo de Caracas. MACC. Caracas. Venezuela

2007

· Documentaria: 30 Años en el Arte Venezolano. Galería de Arte Nacional, GAN. Caracas. Venezuela

· Metamorfosis de la mirada, Obras de la colección. Museo de Arte Contemporáneo de Caracas, MACC. Caracas. Venezuela

· Papeles de escultor, Estampas de la colección. Museo de Arte Contemporáneo de Caracas, MACC. Caracas. Venezuela

· La geometría de la esperanza. Grey Art Gallery. New York University. Nueva York. Estados Unidos

· Obras singulares en una colección. Inventos, historias y descubrimientos. Estampas de la Colección· Fundación Museos Nacionales. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Campos de color. Obras de la colección. Museo de Bellas Artes, MBA. Caracas. Venezuela

· Tamaño Real. Galería Cayón. Madrid. España

· La Presencia-The Presence of Latin American Art in California Collections. Molaa Museum of Latin American Art. Long Beach. Estados Unidos

· New Perspectives in Latin American Art. 1930-2006. Selections from a Decade of Adquisitions. Museum of Modern Art, MoMA. Nueva York. Estados Unidos

2008

· Peripheral visión collective body. MUSEION. Bolzano. Italia

· El círculo. Galería Elvira González. Madrid.España

· Pedacito de cielo. Harvard University of the Carpenter Center for the Visuals Arts. Massachusetts. Estados Unidos

· III Bienal de Escultura. Galería Trazos. Caracas. Venezuela

· Frágil. Museo de Arte Contemporáneo Esteban Vicente. Segovia. España

2009

· Espacio Real. Esculturas. Galería Ascaso. Caracas. Venezuela

· El tiempo como materia. Colección MACBA. Nuevas incorporaciones. Museo de Arte Contemporáneo de Barcelona, MACBA. Barcelona. España

· North Looks South: Building the Latin American Art Collection. Museum de Fine Arts Houston, MFAH. Houston. Estados Unidos

· Colección. Museo de Arte Contemporáneo de Barcelona, MACBA. Barcelona. España

· Explorando el Sur. El universalismo constructivo y otras tendencias en América Latina. Museo Extremeño e Iberoamericano de Arte Contemporáneo, MEIAC. Badajoz. España

2010

· Constructive Spirit. Abstract Art in South and North América 1920-1950.

– Newark Museum, Newark. Estados Unidos

– Amon Carter Museum, Forth Worth Texas. Estados Unidos

· Until now: Collecting the new. The Minneapolis Institute of Arts. Minneapolis. Estados Unidos

· Mind and Matter: Alternative Abstractions, 1940. Museum of Modern Art MOMA. Nueva York. Estados Unidos

· La Sombra del habla. Colección MACBA. National Museum of Contemporary Art. Korea Seúl. Corea

· Los Sitios de la Abstracción Latinoamericana. Vibracion. Moderne Kunst aus Lateinamerika. Colección CIFO.

– Kunst-und Ausstellungshalle de Bundesrepublik Deutschland. Bonn Alemania

-Es Baluard. Museu dárt Modern i Contemporani de Palma. Palma de Mallorca. España

– Museum of Latin American Art MOLAA. Long Beach. Estados Unidos

· Gerd and Gego. Henrique Faría Fine Art. Nueva York. Estados Unidos

· On line: Drawing trough the twentieth Century. Museum of Modern Art. MoMa Nueva York. Estados Unidos

· Dibujar en el espacio. Artistas abstractos de Brasil y Venezuela en la Colección Patricia Phelps de Cisneros Fundación Ibere Camargo Porto Alegre. Sao Paulo. Brasil.

· Puntos de Vista. Museo de Arte Moderno Jesús Soto. Ciudad Bolívar. Venezuela

2011

· Los Sitios de la Abstracción Latinoamericana. Vibracion. Moderne Kunst aus Lateinamerika. Colección CIFO.

– Haus Konstruktiv. Zurich. Suiza

· América fría: la abstracción geométrica latinoamericana (1934-1973). Colección Allegro. Fundación Juan March. Madrid. España

· Gego and Gerd Leufert. The Mission Project Gallery, Chicago. Estados unidos

· Gego «Prints & Drawings 1963-1991. Frederico Séve Gallery. Latin Collector. Nueva York. Estados Unidos

· Variatons Labyrinthiques. Centro Pompidou Metz. Metz. Francia

2012

· 30 th Bienal de Sao Paulo. “Inminencia de las Poéticas” Pavilhao Ciccillo Matarazzo. Sao Paulo. Brasil

2013

· La invención concreta: Colección Patricia Phelps de Cisneros. Museo Reina Sofía, Madrid. España

2014

· Radical Geometry. Modern art of South America. Colección Patricia Cisneros. Royal Academy of Art. Londres. Reino Unido.

2015

· Cosmic Dialogues: Sellection from the Latin American collection. Museum of Fine Arts, Houston. Estados Unidos.

2016

· Revolution in the making. Abstract sculpture by women. 1947-2016. Hauser, Wirth & Schimmel. Los Ángeles. Estados Unidos.

· Flujo disperso = Blurry Flux: Carla Arocha and Stéphane Schraenen. Mercantil Collection. Espacio Mercantil. Caracas. Venezuela.

· Drawing Then: Innovation and Influence in American Drawings of the Sixties. Dominique Levy Gallery. Nueva York, Estados Unidos.

· Unfinished: thoughts left visible. The Metropolitan Museum of Art. NY. Nueva York. Estados Unidos.

· Eppur si muove. The Museé des Arts et Metiers. París. Francia.

LIBROS

· 1974. Traba, Marta: Mirar en Caracas. Monte Ávila Editores. Caracas. Venezuela

· 1977. Ossott, Hanni: Gego. Museo de Arte Contemporáneo. Caracas. Venezuela

· 2003. Peruga, Iris et al. Gego. Obra completa. 1955-1990. Fundación Cisneros. Caracas. Venezuela

· 2005. Huizi, María Elena y Josefina Manrique (edits.) Sabiduras y otros textos de Gego. Edición bilingüe español-inglés. International Center for the Arts of the Americas, The Museum of Fine Arts, Houston y Fundación Gego. Houston. Estados Unidos

· 2012. Ramos, María Elena. Gego. Biblioteca Biográfica Venezolana. El Nacional y Fundación Bancaribe. Caracas. Venezuela

· 2013. Huizi, María Elena, Ester Crespin, MariCarmen Ramírez, Melina Kervadjian. “Desenredando la red. La Reticulárea de Gego Una antología de respuestas críticas». Museum of Fine Arts, Houston/ICAA. Fundación Gego. Caracas. Houston Estados Unidos

CATÁLOGOS DE EXPOSICIONES INDIVIDUALES (SELECCIÓN)

· 1969. Blanco, Lourdes. Gego. Reticularea. Ediciones de la Galería Conkright. Caracas. Venezuela

· 1977. Traba, Marta. Gego. Museo de Arte Contemporáneo. Caracas. Venezuela

· 1982. S.a. Acuarelas de Gego. Galería de Arte Nacional. Caracas. Venezuela

· 1984. Figarella, Mariana. Gego. Dibujos sin Papel. Museo de Bellas Artes. Caracas. Venezuela

· 1985. Espinoza, Eugenio. Dibujos sin Papel. Museo de Barquisimeto. Barquisimeto. Venezuela

· 1996. Sierra, Eliseo. Gego: Dibujos, Grabados y Tejeduras. Fundación Centro Cultural Consolidado. Caracas. Venezuela

· 2000. Peruga, Iris et al. Gego, 1955-1990. Museo de Bellas Artes y Fundación Gego. Caracas. Venezuela

· 2003. Ramírez, Mari Carmen et al. Questioning the Line: Gego in Context. International Center for the Arts of the Americas, The Museum of Fine Arts, Houston. Houston. Estados Unidos

· 2006. Ramírez, Mari Carmen et al. Gego. Entre la Transparencia y lo Invisible. Edición bilingüe español-inglés. Museo de Arte Latinoamericano de Buenos Aires (MALBA). Fundación Eduardo F. Costantini, Buenos Aires y The Museum of Fine Arts, Houston. Estados Unidos

· 2006. Amor, Mónica et al. Gego. Desafiando Estructuras. Museo de Arte Contemporáneo de Serralves. Oporto, 2006. Museo de Arte Contemporáneo de Barcelona. Barcelona. España

· 2006. Amor, Mónica et al. Gego. Defying Structures. Museo de Arte Contemporáneo de Serralves. Oporto, 2006. /Museo de Arte Contemporáneo de Barcelona. Barcelona. España

· 2006. Gómez, Hannia. Gego Arquitecto. Sala Trasnocho Arte Contacto y Fundación Gego. Caracas. Venezuela

· 2006. Rottner, Nadja y Weibel, Peter (edits.) Gego 1957-1988. Thinking the Line. s/l. Hatje Cantz Verlag. Ostfildern. Alemania

· 2012. Manrique, Josefina. Gego. Procedencia y Encuentro. Sala Mendoza. Caracas. Venezuela

· 2013. Kolle Brigitte, Froitzhem Eva Marina, Roettig Petra, Lefeuvre, Lisa. Gego. Line as Object. Hamburger Kunsthalle, Kunstmuseum Stuttgart, Henry Moore Institute. Hamburgo. Alemania

· 2013. De Rogatis Costanza. Gego sobre papel. El Trazo transparente. Museo de la Estampa y el Diseño Carlos Cruz Diez. Caracas. Venezuela

· 2014. Suazo Félix. Gego. Tejeduras, bichitos y Libros. Periférico Caracas. Arte Contemporáneo. Caracas. Venezuela

· 2014. Gego. La poetique de la ligne. Colección Mercantil La Maison del Amerique Latine. París. Francia

· 2015. Antelo Suárez, Sandra, et al, Cabañas, Kaira. Gego Autobiography of a Line. Dominique Levy Gallery. Nueva York. Estados Unidos.

CATÁLOGOS DE EXPOSICIONES COLECTIVAS (SELECCIÓN)

· 1965. Seitz, William C. The responsive eye, New York: The Museum of Modern Art. Nueva York Estados Unidos

· 1996. De Zegher, M. Catherine (edit): Inside the Visible. An Elliptical Traverse of 20th Century Art (In, of, and from the Feminine), The Institute of Contemporary Art, Boston. Flandes, Kortrijk, The Kanaal Art Foundation; The MIT Press. Cambridge, Massachusetts and London. Boston. Estados Unidos

· 1996. Fundacao Bienal de Sao Paulo (edit.): 23a Bienal Internacional Sao Paulo. Catálogo das Salas Especiais, Sao Paulo (Brasil): Fundacao Bienal de Sao Paulo. Brasil

· 1997. Pérez Oramas, Luis y Jiménez, Ariel: La invención de la continuidad. Galería de Arte Nacional. Caracas. Venezuela

· 1997. Ramírez, Mari Carmen (edit): Re-Aligning Vision. Alternative Currents in South American Drawing, Austin: Archer M. Huntington Art Gallery, The University of Texas at Austin. Estados Unidos

· 1999. Carvajal, Rina y Ruiz, Alma (edits.): The Experimental Exercise of Freedom. Lygia Clark, Gego, Mathias Goeritz, Hélio Oiticica and Mira Schendel, Los Angeles: The Museum of Contemporary Art. Los Ángeles. Estados Unidos

· 2000. Brett, Guy (edit.): Campos de fuerzas. Un ensayo sobre lo Cinético. Museu d’Art Contemporani de Barcelona. Barcelona.

· 2000. Brett, Guy (edit.): Force Fields. Phases of the kinetic. Museu d’Art Contemporani de Barcelona y Hayward Gallery, Londres. Barcelona. España

· 2000. Ramírez, Mari Carmen y Olea, Héctor (edit): Heterotopías: Medio siglo sin-lugar (1916 -1968) Museo Nacional Centro de Arte Reina Sofía. Madrid. España

· 2001. Bois, Yve- Alain et al.: Abstracción Geométrica. Arte Latinoamericano en la Colección Patricia Phelps de Cisneros. Edición bilingüe español-inglés. Cambridge: Fogg Art Museum, Harvard University Art Museums and Fundación Cisneros. Caracas, Venezuela

· 2001. Chacón, Katherine: Geometría como vanguardia. Fundación Banco Mercantil. Caracas, Venezuela

· 2003. Kalenberg, Ángel y Jiménez, Ariel: Geo-metrías. Abstracción geométrica latinoamericana en la Colección Cisneros. Fundación Cisneros. Caracas. Venezuela

· 2004. Bercht, Fátima et al.: Latin American & Caribbean Art. MoMA at EL MUSEO, New York. El Museo del Barrio and The Museum of Modern Art. New York. Estados Unidos

· 2004. Jiménez, Ariel: Diálogos. Arte Latinoamericano desde la Colección Cisneros. Fundación Cisneros. Caracas. Venezuela

· 2004. Ramírez, Mari Carmen y Olea, Héctor (edit): Inverted Utopias. Avant – Garde Art in Latin Americ., Houston: Yale University Press y The Museum of Fine Arts, Houston. Estados Unidos

· 2008. Parreño, José María et al. Frágil. Museo de Arte Contemporáneo Esteban Vicente. Segovia.

· 2008. Correspondence. Contemporary Art from The Coleccion Patricia Phelps de Cisneros. Massachussetts. Estados Unidos

· 2010. OHare, Mary Kate. Constructive Spirit. Arte Abstracto. New Jersey; Estados Unidos

· 2010. Ledezma Juan. Vibración. Modern Kunst as Latineimerica. Arte Contemporáneo. Bonn, Alemania

· 2010. Mari,Bartomeu. La Sombra del habla. Colección MACBA. National Museum of Contemporary Art. Seul, Korea.

· 2011. América Fria. Arte Abstracto Latinoamericano. Fundación Juan March. Madrid. España.

· 2011. De Genin Helen. ERRE. Variations Laberynthics. Centre Pompidou. Metz. Francia.

· 2014. Pérez Barreiro, Gabriel. Radical Geometry. Modern art of South America from Patricia Phelps de Cisneros Collection. Royal Academy of Arts Londres, Inglaterra

· 2014. Gutiérrez Guimaraes, Geannine. Gego and Gerd Leufert. A Dialogue. Hunter College NY. Estados Unidos.

· 2015. Farcy, Marie-Noëlle et al. Eppur si Muove. Art and Technology, a shared sphere. Mudam Louxembourg. Luxemburgo. Musee des Arts et Métiers, París, Francia.

· 2015. Rangel, Gabriela y Rivas Jorge. Moderno. Design for Living in Brazil, Mexico and Venezuela, 1970-1978. Americas Society. Nueva York. Estados Unidos.

· 2015. De la Torre, Alfonso. Tener Visiones. Construyendo el mundo moderno. Escultura Internacional del Siglo XX. Odalys Ediciones de Arte. Madrid. España.

· 2015. Schätzke, Andreas. Transatlantische Moderne. Deutsche Architekten im lateinamerikanische Exil. Munster. Alemania.

· 2015. Ramírez, MariCarmen et.al. Contingent Beauty. Contemporary Art from América Latina. Houston. Estados Unidos.

· 2016. Schimmel Paul and Sorkin Jenny editores. Revolution in the Making. Abstract Sculpture by Women 1947-2016. Hauser and Wirth. Los Angeles. Estados Unidos.

· 2016. Corcie, Marie Sophy et al. Laboratories de Lárt. Mudam Louxembourg. Luxemburgo Musee des Arts et Métiers, Paris. Francia.

· 2016. Baum, Kelly; Bayer, Andrea; Wagstaff, Sheena. Unfinished: Thought Left Visible. The Metropolitan Museum of Art. Nueva York. EEUU.

· 2017. Rivero, Tahía; Fuenmayor, Jesús. Passages in Art from Venezuela. Editorial Arte. Caracas. Venezuela.

· 2017. Grandes, Ainhoa; Barenblit, Ferran; Dercon, Chris; Mesquita, Ivo; Perelló, María Antonia. The MACBA Collection. Slected Works. Museu d’Art Contemporani de Barcelona. Barcelona. España.

· 2017. Fajardo Cecilia y Giunta, Andrea. Radical Women. Latin American Art 1960-1985. Hammer Museum. Nueva York. Estados Unidos.

· 2017. Storr Robert, Bell, Tiffany. Ruth Asawa. David Swirnner Book. Nueva York. Estados Unidos.

· 2018. Hernández López, Magaly et al. Grandes Artistas Latinoamericanos. Colección FEMSA. Buenos Aires, Argentina.

· 2018. Amor, Mónica. Et. Al. Geométríes Sud, du Mexique à la Terre de Feu. Foundation Cartier. Paris. Francia.

CONTACTO

FUNDACIÓN GEGO
Calle Leonardo Da Vinci
Centro Comercial Bello Monte
Piso 3, Of. 3-E.
Colinas de Bello de Monte
c.p. 1041 Caracas, Venezuela

Telefax:
+ 58-212- 751.13.42
+ 58-212- 753.72.86

[email protected]

“Crossing Cultures & Cities” Exhibition

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Editorial

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“Crossing Cultures & Cities” Exhibition

WHAT: Opening a Contemporary Art Exhibition “Crossing Cultures & Cities”
WHEN: July 7, 2023 6:00 pm to 9:00 pm
WHO: “The Bright Foundation & Hispafest” and the “Dirección de Cultura Dominicana
en el Exterior New York.
WHERE: 2406 Amsterdam Avenue, 4th floor, New York, NY. 10033

“Crossing Cultures & Cities”: A Vibrant Contemporary Art Exhibition Unveiling Miami Talent in New York.
New York City, NY – [June 28] – Experience a captivating artistic interchange at Crossing Cultures & Cities”, a highly anticipated art exhibition in New York.
Organized by Nubia Abaji, “Director of The Bright Foundation & Hispafest” that will be held in the “Directorate of The Dominican Republic Abroad NY”, both organizations in charge of promote culture through difference expressions of Art. this exhibition showcases diverse Miami based artists immigrants from Argentine, Brazil, Colombia, Costa Rica, Dominican Republic, Germany, Iran, Italy, Paraguay, Peru, Russ, Spain, Venezuela. From July 7th to July 31st, immerse yourself in contemporary artworks spanning painting, photography, sculpture, installations and more. Witness live artist performances that bring the creative process to life.

Join us for the grand opening.
About The Bright Foundation & Hispafest:
The Bright Foundation & Hispafest is a 501c3 Miami based Art organization to promotes cultural exchange, artistic development, and national and international collaboration. Through exhibitions, festivals, and educational programs, they connect artists and audiences, fostering understanding and appreciation of global cultures.

Free entry to the public “Crossing Cultures & Cities” features an exceptional lineup of artists, including:
Alessandra Sequeira @alessandrasequeira_
Ilieana Rincón-Cañas @Ilerinconcanas
Isaac Bencid @isaacbencid.art
Luis Altieri @altieriluis
Maria Ortega @mariaortegagalvez
Michele Janata @michele.janata
Nathalia Delgado Nachtigall @azulartworld
Rafael Montilla @rafaelmontillaart
Rebecca Setareh @artofrebecca
Sady Pineda @sadypinedastudio
Tatiana Zayseva @tzvisualartist
Valeria Montag @montagvaleria
Vicente Fabre @vicenrefabreart
And the performances of:
Kube Man @kubemanart
Mariana Montag and Valeria Montag. @mamamontag

Artists selection:
Nubia Abaji @nubiaabaji
Each artist brings their unique style and perspective, contributing to the rich
tapestry of the exhibition. We will waiting for you.

For more information:
The Bright Foundation & Hispafest
Nubia Abaji, Director
Tel: 9548041752 whatsapp or text message only
Email: [email protected]
Dirección de Cultura Dominicana en el exterior NY
Rey Andujar, Cultural Liaison
Tel: 646-370-5478

Gego

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Editorial

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Un catálogo para sumergirse en las redes de Gego

La Fundación Gego presentó esta semana el primer capítulo de lo que será el Catálogo razonado de la artista: “Volumen I. Sistema Reticular”

La presentación esta semana del primer capítulo, Volumen I. Sistema Reticular, da acceso al Catálogo razonado de Gego, una publicación en línea desarrollada por la Fundación Gego para brindar la información más completa posible sobre la variada producción artística de la artista germano-venezolana Gego (Gertrud Goldschmidt, Hamburgo, 1912 – Caracas, 1994), considerada como una de las artistas más significativas que emergieron en Latinoamérica en la segunda mitad del siglo XX, y de quien se exhibe actualmente una importante retrospectiva en el Solomon R. Guggenheim Nueva York.

Producto de un estudio acucioso donde se incluyen las características técnicas de las obras, imágenes, historial de exposiciones, referencias bibliográficas y colecciones, el Catálogo razonado de Gego está proyectado como una investigación en desarrollo, con publicaciones programadas en los años por venir, y está concebido para desplegarse en diez volúmenes que responden a los diferentes momentos, géneros y lenguajes por los que transitó Gego durante su vida artística. Cada volumen contará con un conjunto de obras estudiadas, y textos introductorios que definen y valoran sus peculiaridades.

El primer capítulo, Volumen I. Sistema Reticular, cuenta con los textos introductorios de Josefina Manrique –directora del catálogo razonado– así como del poeta y curador Luis Enrique Pérez-Oramas, y contiene el estudio de 116 obras tridimensionales, realizadas por la artista entre los años 1969 y 1988, siguiendo el sistema estructural reticular, es decir, su método de creación basado en el tejido de redes y mallas metálicas.

En palabras de la curadora de la Fundación Gego, Josefina Manrique, “La obra de Gego es bastante heterogénea, si nos basamos en la variedad de géneros que cultivó a lo largo de toda su trayectoria artística. Esa particularidad nos llevó a abordar el catálogo razonado de la misma delimitando áreas de estudios específicas conforme a los diversos tránsitos de su trayectoria. Como resultado, iniciamos nuestras entregas con este primer volumen dedicado al sistema reticular en su aspecto tridimensional. En otras palabras, comenzamos por lo que a juicio y consenso de críticos, curadores, coleccionistas y público general es su obra más emblemática y significativa: las reticuláreas, redes y mallas”.

Los próximos volúmenes proyectados y en investigación son: Volumen 2. Dibujos sin papel; Volumen 3. Obras de integración a la arquitectura; Volumen 4. Líneas paralelas; Volumen 5. Bichos / Bichitos; Volumen 6. Libros y plegados; Volumen 7. Diseño y objetos varios; Volumen 8. Dibujos, pinturas y collages; Volumen 9. Estampas y grabados, y Volumen 10. Tejeduras, los cuales irán publicándose anualmente.

El Catálogo razonado de Gego tendrán 10 volúmenes que se desarrollarán durante una década (CORTESÍA FUNDACIÓN GEGO)

Cabe destacar que el Catálogo razonado de Gego cuenta también con un glosario con los principales términos utilizados por Gego, así como una sección llamada guía en la que se explican los criterios empleados para mostrar la información de la obra.

“La elaboración de un catálogo razonado es un trabajo primordialmente de equipo. En nuestro caso, los Departamentos de Registro, Centro de Documentación y la Curaduría nos coordinamos en primer lugar para verificar, completar y corregir el trabajo de registro realizado en todos los años anteriores, y en segundo lugar, muy principalmente, nos concentramos en actualizar toda la información, no solo términos de la data, sino también en poner al día los criterios y parámetros bajo los cuales registrar las obras”, afirma Josefina Manrique.

Gego (Gertrud Goldschmidt) nació en la ciudad alemana de Hamburgo en agosto de 1912, y en 1938 se graduó en Ingeniería, mención Arquitectura en la Universidad de Stuttgart, Alemania. Un año después, emigra a Venezuela y obtiene en 1952 la nacionalidad venezolana. Desarrolló una amplia y reconocida trayectoria artística durante más de cuatro décadas, durante las cuales exhibió su obra en Venezuela, Colombia, Estados Unidos, México, Argentina, Portugal, España, Francia, Alemania, Reino Unido, Brasil, entre otros países. Sobre la artista se han realizado importantes exposiciones individuales en instituciones como Solomon R. Guggenheim Nueva York, The Museum of Fine Arts, Houston (MFAH), el Museo de Arte Contemporáneo de Barcelona (MACBA), el Museo de Arte Latinoamericano de Buenos Aires (MALBA), el Museo de Arte Moderno de Sao Paulo (MASP), el Kunstmuseum Stuttgart, entre otros.

El Catálogo razonado de Gego está disponible desde la página de la Fundación Gego (https://fundaciongego.com/) así como también desde su propia dirección https://catalogorazonado.fundaciongego.com/

La Fundación Gego nació como una iniciativa familiar a raíz del fallecimiento de la artista en 1994. Tras recibir el legado de su obra, sus hijos y nietos crearon la Fundación Gego con el objetivo de catalogar, conservar, estudiar y promover la obra de Gego.

Para ello cuenta con un modelo institucional que le permite desarrollar y proveer diferentes actividades y servicios, tales como la atención al público interesado en consultar el archivo documental de la Fundación, gestionar licencias de derechos de autor para la reproducción de obras y documentos (bibliográficos, fotográficos, audiovisuales, entre otros) relacionados con la vida y el trabajo de Gego, gestionar comprobantes de registro en su base de datos computarizada, además de asesorías a instituciones, curadores y coleccionistas.

En sus casi 30 años de existencia, la fundación ha desarrollado y apoyado importantes exposiciones retrospectivas de la artista, así como numerosas exposiciones colectivas en las que su obra ha sido incluida; ha editado o asistido en la edición de diversas publicaciones, así como ha contribuido en la realización de documentales y seminarios en importantes instituciones dentro y fuera de Venezuela.

Guiada por el ánimo de ampliar las múltiples investigaciones e interpretaciones posibles de la obra de Gego, la fundación ha seguido procurando alianzas institucionales y el desarrollo de proyectos expositivos, editoriales y artísticos, al tiempo que ha insistido en la realización del Catálogo razonado de Gego, el cual probablemente sea el proyecto más ambicioso y complejo, que haya emprendido hasta la fecha. Con este catálogo razonado, la Fundación Gego afianza su compromiso en el estudio de la obra de la artista, a través de una herramienta de uso público para todos aquellos interesados en la obra de Gego.

Finalmente, la directiva de la fundación invita a coleccionistas y propietarios de obras de Gego a que sean parte de esta investigación en desarrollo, registrando o actualizando los datos de sus obras en la base de datos de la institución.

17th Annual Breakfast with the Arts

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Editorial

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17th Annual Breakfast with the Arts & Hospitality

Join us at the Intercontinental Miami to celebrate the resurgence of the arts and the rebound of cultural tourism. Explore the lucrative cultural tourism market and discover profitable partnerships at a networking event like no other. We will also be honoring of the Arts. Franklin Sirmans @franklinsirmans Pérez Art Museum Miami @pamm

TICKET INFORMATION

INDIVIDUAL TICKETS

General Admission: $65 – Wake up to a creative networking, breakfast and a dynamic program.

VIP Aficionado: $85 – Enjoy breakfast with ALL the frills! Preferred seating at a VIP table.

TABLES

Table Sponsor: $500 – Get 10 VIP seats for you and your invited guests.

Signature Sponsor: $1,000 – Join the inner circle, 10 premium seats, ABC hospitality partnership, impactful engagement all year.

Félix González-Torres

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Editorial

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"Untitled" (Perfect Lovers) félix gonzález-torres

Félix González-Torres

American, b. Guáimaro, Cuba 1957, d. Miami, Florida 1996

(American, born Guáimaro, Cuba, 1957–died Miami, USA, 1996, due to complications arising from AIDS) encountered Spain directly in 1971, when he was sent as a child with his sister from Cuba to Madrid, prior to settling with an uncle in Puerto Rico. He began his artistic training in Puerto Rico and relocated to New York to continue his studies. It was in New York that he established his career working both as a solo artist and separately as a member of the collective Group Material.

Biography published by David Zwirner Gallery

Felix Gonzalez-Torres was born in Guáimaro, Cuba, on November 26, 1957. He referred to himself as American. He lived and worked in New York City between 1979 and 1995. Gonzalez-Torres died in Miami on January 9, 1996 from AIDS-related causes. He began his art studies at the University of Puerto Rico before moving to New York City, where he attended the Whitney Independent Study Program, first in 1981 and again in 1983. He received his BFA from Pratt Institute, New York, in 1983 and his MFA from the International Center of Photography and New York University in 1987.

From 1987 to 1991, Gonzalez-Torres was a part of the artist collective Group Material, whose collaborative, politically-informed practice focused on community engagement and activist interventions. In 1988, he had his first one-man exhibitions, at the Rastovski Gallery, New York, INTAR Gallery, New York, and the New Museum of Contemporary Art, New York. His earliest billboard work, “Untitled” (1989), was installed at New York’s Sheridan Square on the occasion of the twentieth anniversary of the Stonewall Rebellion. In 1990, a solo presentation of Gonzalez-Torres’s work served as the inaugural exhibition of the Andrea Rosen Gallery, New York.

Felix Gonzalez-Torres: Traveling, a survey of the artist’s work, was presented at The Museum of Contemporary Art, Los Angeles, the Hirshhorn Museum and Sculpture Garden, Washington, DC, and the Renaissance Society at the University of Chicago in 1994. In 1995, the Solomon R. Guggenheim Museum, New York, organized an international traveling retrospective of his work. The artist participated in numerous group shows during his lifetime, including early presentations at Artists Space and White Columns in New York (1987 and 1988, respectively), the Whitney Biennial (1991), the Venice Biennale (1993), and the San Francisco Museum of Modern Art (1995) and the Art Institute of Chicago (1995).

In 1997, the Sprengel Museum Hannover, Germany, organized a traveling posthumous solo exhibition and published a catalogue raisonné of the artist’s work. Further solo exhibitions of his work were held at such institutions as The Art Gallery of South Australia, Adelaide (1998); The Douglas Hyde Gallery, Dublin (1999-2000); El Museo Nacional de Artes Visuales, Montevideo, Uruguay (2000-2001); Serpentine Gallery, London (2000); Le Consortium, Dijon (2002); and Hamburger Bahnhof, Museum für Gegenwart, Berlin (2006). In 2007, Gonzalez-Torres was selected to represent the United States at the 52nd Venice Biennale.

More recently, in 2010-2011, WIELS Contemporary Art Center, Brussels, organized a six-part traveling retrospective, Felix Gonzalez-Torres: Specific Objects without Specific Form, which was also presented at the Fondation Beyeler, Basel, and Museum für Moderne Kunst, Frankfurt. At each institution, Elena Filipovic curated a retrospective version of the exhibition which was reconsidered midway through its run by a collaborating artist-curator: Danh Vo, Carol Bove, and Tino Sehgal, respectively. Further exhibitions devoted to the artist’s work have been held at PLATEAU and Leeum, Samsung Museum of Art, Seoul, South Korea (2012); Metropolitan Arts Centre, Belfast, Northern Ireland (2015); Rockbund Art Museum, Shanghai, China (2016); and Museu d’Art Contemporani de Barcelona (MACBA) (2021).

Felix Gonzalez-Torres: Summer was on view at the Museum of Contemporary Art, Toronto in 2022. Also in 2022, The two-person presentation, Felix Gonzalez-Torres – Roni Horn, was presented at the Bourse de Commerce–Pinault Collection, Paris.

In 2023, David Zwirner, New York presented an exhibition of works by the artist. This was the second solo exhibition of Gonzalez-Torres’s work at David Zwirner since the announcement that the gallery would be joining Andrea Rosen Gallery in co-representing the artist’s estate.

Felix Gonzalez-Torres earned a BFA in photography from Pratt Institute in Brooklyn, New York, in 1983. Printed Matter, Inc. in New York hosted his first solo exhibition the following year. After obtaining an MFA from the International Center of Photography and New York University in 1987, he worked as an adjunct art instructor at New York University until 1989. Throughout his career, Gonzalez-Torres’s involvement in social and political causes as an openly gay man fueled his interest in the overlap of private and public life. From 1987 to 1991, he was part of Group Material, a New York-based art collective whose members worked collaboratively to initiate community education and cultural activism. His aesthetic project was, according to some scholars, related to Bertolt Brecht’s theory of epic theater, in which creative expression transforms the spectator from an inert receiver to an active, reflective observer and motivates social action. Employing simple, everyday materials (stacks of paper, puzzles, candy, strings of lights, beads) and a reduced aesthetic vocabulary reminiscent of both Minimalism and Conceptual art to address themes such as love and loss, sickness and rejuvenation, gender and sexuality, Gonzalez-Torres asked viewers to participate in establishing meaning in his works.

In his “dateline” pieces, begun in 1987, Gonzalez-Torres assembled lists of various dates in random order interspersed with the names of social and political figures and references to cultural artifacts or world events, many of which related to political and cultural history. Printed in white type on black sheets of paper, these lists of seeming non sequiturs prompted viewers to consider the relationships and gaps between the diverse references as well the construction of individual and collective identities and memories. Gonzalez-Torres also produced dateline “portraits,” consisting of similar lists of dates and events related to the subjects’ lives. In Untitled (Portrait of Jennifer Flay) (1992), for example, “A New Dress 1971” lies next to “Vote for Women, NZ 1893.”

Gonzalez-Torres invited physical as well as intellectual engagement from viewers. His sculptures of wrapped candies spilled in corners or spread on floors like carpets, such as “Untitled” (Public Opinion) (1991), defy the convention of art’s otherworldly preciousness, as viewers are asked to touch and consume the work. Beginning in 1989, he fashioned sculptures of stacks of paper, often printed with photographs or texts, and encouraged viewers to take the sheets. The impermanence of these works, which slowly disappear over time unless they are replenished, symbolizes the fragility of life. While in appearance they sometimes echo the work of Donald Judd, these pieces also belie the Minimalist tenet of aesthetic autonomy: viewers complete the works by depleting them and directly engaging with their material. The artist always wanted the viewer to use the sheets from the stacks—as posters, drawing paper, or however they desired.

In 1991 Gonzalez-Torres began producing sculptures consisting of strands of plastic beads strung on metal rods, like curtains in a disco. Titles such as Untitled (Chemo) (1991) and Untitled (Blood) (1992) undercut their festive associations, calling to mind illness and disease. In 1992 he commenced a series of strands of white low-watt lightbulbs, which could be shown in any configuration—strung along walls, from ceilings, or coiled on the floor. Alluding to celebratory décor—in the vein of the charms of outdoor cafés at night—these delicate garlands are also a campy commentary on the phallic underpinnings of numerous Minimalist creations, particularly Dan Flavin’s rigid light sculptures. Also in 1992, Untitled (1991), a sensual black-and-white photograph of Gonzalez-Torres’s empty, unmade bed with traces of two absent bodies, was installed on 24 billboards throughout the city of New York. This enigmatic image was both a celebration of coupling and a memorial to the artist’s lover, who had recently died of AIDS. Its installation as a melancholic civic-scaled monument problematized public scrutiny of private behavior.

Gonzalez-Torres received fellowships from the National Endowment for the Arts in 1989 and 1993. He participated in hundreds of group shows during his lifetime, including early presentations at Artists Space and White Columns in New York (1987 and 1988, respectively), the Whitney Biennial (1991), the Venice Biennale (1993), SITE Santa Fe (1995), and the Sydney Biennial (1996). Comprehensive retrospective exhibitions of his work have been organized by the Museum of Contemporary Art Los Angeles (1994); Solomon R. Guggenheim Museum (1995); Sprengel Museum Hannover, Germany (1997); and Biblioteca Luis-Angel Arango, Bogotá (2000). Other exhibitions have been held at the Hamburger Bahnhof-Museum für Gegenwart, Berlin (2006–07); PLATEAU, Seoul (2012); and Leeum, Samsung Museum of Art, Seoul (2012). A survey of his work, Specific Objects without Specific Form, was organized by WIELS, Centre d’Art Contemporain, Brussels (2010), and then traveled to the Fondation Beyeler, Basel (2010), and the Museum für Moderne Kunst Frankfurt am Main (2011). In 2007, Gonzalez-Torres was selected to represent the United States at the Venice Biennale in the exhibition Felix Gonzalez-Torres: America. He died in Miami on January 9, 1996.

Medium: Wall clocks and paint on wall

Dimensions: Overall dimensions variable; clocks 14″ diameter x 2 3/4″ (35.6 cm diameter x 7 cm) each

Contact:

The Felix Gonzalez-Torres Foundation
544 West 24th Street
New York, NY 10011

General Inquiries
[email protected]
Tel: +1 212 414 4242

Holly McHugh, Associate: Licensing, Archives, Research
Andrea Rosen, President
Emilie Rosenfeld, Director of Internal Research Initiatives

For Exhibition Proposals, please contact [email protected]

For Press Inquiries, please contact [email protected]

For Image Licensing Inquiries, please contact [email protected]

Source:

Felixgonzalez-torresfoundation.org

Davidzwirner.com/artists/felix-gonzalez-torres

Guggenheim.org/artwork/artist/felix-gonzalez-torres

www.e-flux.com/announcements/381451/felix-gonzalez-torresthe-politics-of-relation

Cover photo:

www.e-flux.com

Sandra Monterroso

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Sandra Monterroso

[1974, Guatemala]

Sandra Monterroso is a known textile artist whose work reflects gender issues and power structures. Inspired by the techniques and aesthetics of indigenous people from her native Guatemala, her work is often presented as installations.

Sandra Monterroso occupied the Studio House until December 16. During that time, she developed the project of the series Corazón delator: recetas para sanar heridas (Telltale Heart: Recipes to Heal Wounds), inspired by a story by Edgar Alan Poe and in indigenous recipes to cure evil eye. At the end of the residency period, the pieces were exhibited.

Monterroso’s artistic education includes a Ph.D. in artistic practices, a master’s in design processes, and a bachelor’s degree in graphic design. She lives and works in Guatemala City, Guatemala. Her oeuvre reflects gender and power themes and her commentaries about the colonial residues in contemporary society. She is inspired by the techniques and aesthetics of the indigenous population of her native country. She uses in her creative process artisanal procedures, such as fabric dyeing using natural components from her culture. Her pieces offer a point of encounter between the traditional and the contemporary and often are presented as soft sculptures and installations. Her work has been included in numerous international exhibitions in museums, institutions, and galleries.

Sandra Monterroso began her artistic career in performance art in 1999. She earned a B.A. in Graphic Design in 2001 followed by an M.A. in Design from Universidad Popular Autónoma del Estado de Puebla (UPAEP) in Puebla, Mexico. In 2020, Monterroso earned a PhD in Art Practice from the Akademie der bildenden Künste Wien in Vienna, Austria. She has represented Guatemala in more than twelve biennials, including the 56th La Biennale di Venezia, the 12 Bienal de La Habana, and the Frestas – Trienal de Artes in São Paulo. Monterroso lives and works in Guatemala City.

In her work, Monterroso explores the dynamics of indigenous culture in the postcolonial era, gender issues, and other constructs of power across media including tapestry, painting, video, installation, and performance. Her influences include Cindy Sherman (USA), Gina Pane (France), Carolee Schneemann (USA), Ana Mendieta (Cuba), and Marina Abramović (Serbia), as she explores issues of identity and relational dynamics between genders and cultures. As Monterroso explains, “Behind the silence and the paradox of modernity and coloniality, I start taking as a symbolic reference more particularly the Mayan Q’eqchi’ language as an inheritance from my grandmother, whose linguistic structure is completely metaphorical.”

Monterroso has shown her work in selected exhibitions around the world, including the Bienal de Artes Visuales del Istmo Centroamericano (BAVIC), Museo de Arte de El Salvador (Museo MARTE), San Salvador, El Salvador (2006); Indigenous Voices, La Biennale di Venezia, Padiglione America Latina-IILA, Venice, Italy (2015); Art-Action Feministe: Panorama de la vidéo-performance féministe contemporaine latino-américaine, Centre Pompidou, Paris, France (2009); Cosmópolis II, Centre Pompidou, Paris, France (2019); To Weave in Blue, Poema al Tejido, The Martha and Robert Fogelman Galleries of Contemporary Art, University of Memphis, Tennessee, USA (2020); and Visionarios, Museo Nacional Centro de Arte Reina Sofía (MNCARS), Madrid, Spain (2009).

Monterroso’s work is included in the permanent collections of Centro de Arte Fundación Ortiz-Gurdián, Managua, Nicaragua; Essex Collection of Art from Latin America (ESCALA), Colchester, England, UK; Fundación Paiz, Guatemala City, Guatemala; Museo de Arte y Diseño Contemporáneo (MADC), San José, Costa Rica; Museo Nacional Centro de Arte Reina Sofía (MNCARS), Madrid, Spain; YES Contemporary, Miami, Florida, USA; and many private collections

SELECTED SOLO EXHIBITIONS

2023
Decolorando las Hebras and Colorando las Hebras (video, 2011), Arts of the Ancient Americas Jewel Box Gallery, Denver Art Museum, CO, USA
Sandra Monterroso: The Healing Paradox, Sicardi | Ayers | Bacino, Houston, TX, USA

2022
Altar para pájaros, Instituto de Visión, New York, NY, USA
Cuerpos Infinitos: Sandra Monterroso, Musiq’ / Breath of the spirit, Casa del Lago UNAM, Mexico City, Mexico
Cuerpos Infinitos: Sandra Monterroso, Heart of the Windy Place (performance), Casa del Lago UNAM, Mexico City, Mexico

2020
Threads of Memory, Sicardi | Ayers | Bacino, Houston, TX, USA
Dyed in the wool – the committed poetics of nonconformity, Cecilia Brunson Projects, London, UK
Artwork in Focus – Sandra Monterroso: Tu Ashé Yemanya, Cecilia Brunson Projects, London, UK

2019
Las heridas también se tiñen de azul, Centro Cultural de España, Guatemala City, Guatemala
El agua se volvió oro, el río se volvió oro, el oro se volvió azul, Museo ExTeresa, Mexico City, Mexico

2018
Hybris, NG Gallery, Panama City, Panama

2017
Inchaq’na / Hermana Mayor, French Alliance, Guatemala City, Guatemala
Distorsiones e imperfecciones, The 9.99 Gallery, Guatemala City, Guatemala

2014
Acciones para abolir el deseo, The 9.99 Gallery, Guatemala City, Guatemala

2013
Efectos cruzados, Museo de Arte Contemporáneo, San Salvador, El Salvador

2011
Efectos cruzados, Galería Piegatto (Arte La Fábrica), Guatemala City, Guatemala

2009
Meditando el error, Galería de Artes Visuales, Universidad Rafael Landivar, Guatemala City, Guatemala

2008
Rakoc Atin. Palacio de la Corte Suprema de Justicia, Guatemala City, Guatemala

2005
Sucesos Carcomidos, Galería El Attico, Guatemala City, Guatemala

2004
Metabolismo, Centro Cultural de España, Guatemala City, Guatemala

1999
Ave Fénix, Vestíbulo BANCAFÉ, Guatemala City, Guatemala

SELECTED PUBLIC COLLECTIONS

Essex Collection of Latin American Art, London, UK

Fundación Paiz para la Educación y la Cultura, Guatemala City, Guatemala

Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain

Museum of Contemporary Art and Design (MADC), San José, Costa Rica

Ortíz Gurdián Foundation, Managua, Nicaragua

YAXS Foundation, Guatemala City, Guatemala

Yes Contemporary, Miami, FL, USA

Sandra Monterroso

The Healing Paradox

Exhibition text by independent curator and art historian Alma Ruiz

January 26 – March 16, 2023

Sandra Monterroso
The Healing Paradox

The Healing Paradox marks Sandra Monterroso’s second solo show at Sicardi | Ayers | Bacino. Continuing her interest in Guatemalan textiles as art-making material and as tools to address her country’s embattled history, Monterroso, an artist with Maya Q’eqchi’ roots, focuses her attention this time on more modest materials. Leftover fabrics from a local rug factory and organic cotton and linen embellished with embroidery and neon lights effectively become a compelling locus where discussions about healing wounds within a complex postcolonial heritage occur.

Monterroso utilizes soft materials paired with manufactured objects to construct visual paradoxes. For example, several pieces are made of fabrics originally destined for landfills. Woven by indigenous hands who labor for low salaries to produce beautifully crafted rugs for luxury homes, the scraps tangentially point to a socioeconomic hierarchy between the haves and have-nots. In rescuing the discarded materials, Monterroso performs a redeeming ritual, imbuing them with new life as artworks and, paradoxically, transforming them into repositories of the inequalities, discrimination, and racism that still exist toward marginalized groups without openly highlighting their victimization. In their conclusive form, the pieces are joined to create a whole, mending leads to metaphorical healing.

Color is an important signifier connecting Maya Q’eqchi’s culture to Monterroso’s personal history. The artist is known for her extensive use of indigo and cochineal dyes, with which she colors her textiles and yarns. There is evidence that the Mayas used indigo to create Mayan blue, a pigment developed in the late pre-Classic period, 1900 BC to 200 AD. It can be found in Mesoamerican pottery, murals, and archeological artifacts. The cochineal comes from a tiny cactus-dwelling insect harvested to produce a red dye. While the indigenous people used the red pigment to dye their textiles and for its healing properties and associations with divine light and the sun, the Spanish conquistadors viewed it as a source of wealth. As European demand for cochineal increased, its production became another form of indigenous exploitation. The inclusion of these pigments in the title of many of Monterroso’s works, for example, Like the Triangles: The Celestial Water and the Indigofera Give Us Back the Light and Like the Rhombus: The Earth and the Cochineal Give us Back the Light, underscores their relevance in the rituals of her ancestors and her role in preserving such knowledge. The triangle and diamond-shaped neon lights appended to the fabric stand in for territory/land; the slightly discernible circle inside the neon is a seed, a symbol of birth, growth, and land cultivation. To say that their inclusion seems paradoxical is true; their electric-powered presence gives back the light needed in an altered state of consciousness to enter a moment of reflection on modernity or, more precisely, on the open wounds resulting from the encounters and disagreements that occurred while going through this modernity.

Monterroso’s exploration of healing within a postcolonial context is also expressed in Rombhus to Heal Wounds, a beautiful, bright-colored cotton piece embroidered with recetas* widely used for physical and spiritual healing. Here we can find prescriptions for curing the evil eye, ‘frights,’ cancer, and other ailments. One of them reads, Prescription for the evil eye (non-physical): In a cloth bag, put a few grains of achiote (annatto) and some cross-shaped chili peppers, pass [the bag] all over the [patient’s] body, tracing the shape of a cross, and throw it into the fire. Many of the prescriptions found in this and other of Monterroso’s works come from Aspects of Popular Medicine in Rural Guatemala. Published in 1978 by the now-defunct Instituto Indigenista Nacional, this study responded to the growing interest of archeologists, sociologists, linguists, and other social scientists in third-world popular medicine and its psychosomatic practices. Long treasured by her family, the book was recently gifted to the artist by her maternal aunt.

Her increased usage of sewing to assemble textiles and organic fabrics into new works has led Monterroso to reflect on the role that sewing has played in her family history. Her maternal grandmother, aunts, and mother relocated to Guatemala City to work as seamstresses. This fact was irrelevant until recently when the artist acknowledged that, perhaps subconsciously, she was continuing the family trade with works like Organic Composition in Rhombus No.1 and No. 2, sewn cotton and linen tapestries colored with natural dyes. Like other components in Monterroso’s oeuvre, sewing has been successfully added to her artistic lexicon and joyfully embraced by the artist to honor and celebrate her maternal lineage and Maya Q’eqchi’ heritage.

Alma Ruiz
Independent Curator

Contact: Dcfamilyfoundation.com

JAVIER MARTIN

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Editorial

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Javier Martin Appropriation of Fragments Exhibition

OPENING RECEPTION: Thursday June 22, 2023. 7pm-10pm.

In appropriation of fragments, Martin uses the space to create a dialogue between the individual fragments and their collective composition that forms the whole, transforming the gallery into a theater filled with fragments, representing the information overload of our time. A society created of fragments of information driven by advertising, technology and social media, questioning the veracity of what we recognize, through the use of appropriation, cutting, alteration and reflection, accentuating their emptiness; including the viewer in the scene and transforming them into a part of the fragments that invite self-reflection.
This exhibition is composed of three different body of works, where we can find a journey that shows the interdis-ciplinarity of the artist. From the installation Alma, part of the permanent collection of the Seoul Museum, which consists of a cube covered with mirrors where the viewer is reflected through the appropriated images stamped on them and illuminated by neon, a material appropriated by Martin who considered it a form of public writing, unassociated with art, and traditionally associated with popular culture.
He invites the viewer to step into a room where he has conceptually removed the walls, replacing them with un-limited light and space. Eliminating the barriers society imposes, which fill our minds with banal and insignificant thoughts, keeping us trapped and unable to realize the potential that exists beyond.
In contraposition to the installation, the body of work “CUT” first presented by the artist in Shanghai in 2015, a thought-provoking series that challenges our preconceptions about the power of celebrity and the way we con-sume media. Creating iconic hand-cut photographs, technique inspired by The Chinese tradition of paper cutting, giving importance to the use of the negative space and the contraposition between wholeness and emptiness.
Inspired by the fragments that are remaining from the cut out works, Martin creates the installation that is dis-tributed throughout the gallery, fragments of images that represent remnants, unfinished elements that are a fundamental part of the language, these large fragments leaning on the walls, a format that presents the timeless, the non-sculptural in dialogue with the viewer, questioning the finished, the incomplete or the original in modern society, exploring how images shape our perceptions of ourselves and the world.

Bio.

Javier Martin (Spain, 1985) is a multidisciplinary artist who bases his creative exploration on the careful observation of his surroundings, detecting semiotic relationships that might otherwise pass by unnoticed to an unperceptive viewer. With this approach, the artist constructs situations that invite reflection on impending matters in today’s world.

Raised in Spain, Martin began painting in oil colors at the tender age of seven, and had his first exhibition at the age of eight; however, he never allowed himself to be influenced by formal artistic training. Instead, he relied on his experiences, which allowed him to explore the possibilities of various materials and tools that he incorporates  in his work today. Traveling, living, and working in countries – from Europe, South Korea, Hong Kong, to the United States – honed his observation skills, allowing him to learn from people and daily situations far removed from his background. During the Summer of 2012, Martin participated in his first exhibition in Asia M50 Art District. By 2014 he officially was represented by Matthew Liu Fine Art Gallery in Shanghai.

In addition to his international exhibitions around the world, he shares his knowledge and personal experience regarding the realm of art culture through speaking engagements. In 2015 he conversed with a group of students during a Conference at Alboran College in Marbella, Spain, discussing the impact that art had on his life. 2017 opened with him presenting his performance piece ‘Lies and Light’ at the Museum of Contemporary Art Jacksonville, followed by a discus- sion about the importance of breaking down the lights that veer us away from the path of truth. Most recently, he was a panelist in New Ways of Seeing, presented by New World Forum at Liang Yi Museum, Hong Kong.

Martin has equally experimented in painting, collage, sculpture, performance art and video art. Through his work, he proposes relation- ships among forms, surfaces, textures, and scenarios in which objects used on a daily basis relate to each other in unexpected ways. This talented artist consistently demonstrates his capacity to masterfully manipulate and relate materials and situations to construct sharp visual metaphors. In the Fall of 2015, Martin presented “War, Consumption, and Other Human Hobbies” a solo exhibition at Valli Art Gallery in Miami. Showing several pieces from his Blindness Collection as well a collection of works whose messages addressed themes of consumption and strategies of power within the global economy.

For over a decade, Martin has been developing one of his most iconic collections, Blindness. The eyes, classically associated with the reflection of human emotions, are always concealed whether behind a vibrant stroke of paint or a glowing neon light. With painting and collage, he reproduces images of seemingly perfect models, symbols of a standard of beauty and lifestyle that most people long to enjoy. Inspired by the juxtaposition between the grit of city surroundings and the glossy ads that line them, Martin deconstructs this perceived perfection to create a contrast between technology, collage, and painting.

In the Spring of 2016, Martin presented his first performance piece ‘Lies and Light’ at his solo show during Art Basel Hong Kong week. This performance also represents the latest evolution of the art- it’s Blindness concept. In this case, the artist manifests himself as the protagonist, literally shattering society’s barriers to convey the struggle against conformity, the fight for truth and freedom. This raw and rebellious performance find Martin completely vulnerable in an intense spiritual journey to overcome his past to progress.

In 2018, Martin continued to build on the questions raised by his performance art with installations that challenge viewers to examine their own blindness. Following his public Blindness mural for the 71st Festival de Cannes and his solo exhibition “Blindness the Appropriation of Beauty” (curated by Robert C. Morgan), Martin created a number of interactive installations in which the Blindness concept is more visceral and tangible than ever before. In ‘A Room Without Walls’, Martin riffs on his ‘Alma’ series with an immersive, completely mirrored room in which viewers see themselves infinitely repeated in the face of a figure blinded by neon light. For ‘The Dark Box’, exhibited at Valli Art Gallery in Miami and New York, Martin continues to challenge gallery visitors to directly interact with the Blindness concept. Developed in a world dominated by social media, Martin uses ‘The Dark Box’ to invite viewers to become a part of his art; at the same time, the piece creates a situation in which participants can question their own blindness to new means of consumption.

Martin’s most recent works show him revisiting the concepts behind his earliest works in the Blindness collection. In these large scale and expressive collages, Martin layers paint, prints, paper ephemera, and neon in order to present the Blindness concept with new complexity. Whereas he forces participants to examine their own blindness in his installations, these mature works show Martin mining his own oeuvre to reexamine Blindness more than a decade later. These reflective pieces have been exhibited simultaneously, at Plan B at David Zwirner and in a solo exhibition titled “BLINDNESS” at Valli Art Gallery New York in March, 2019.

Javier Martin presented his first solo museum exhibition at the Seoul Museum in Spring 2019 and his first solo exhibition in Japan at Maki Gallery on the fall of 2019.

Exhibitions

Upcoming

Appropriation of fragments – Solo exhibition (Ascaso Gallery) Miami, USA

2023

ART BUSAN (Gallery Mark) Busan, South Korea
3650 Storage – 인터뷰 10th Anniversary (Seoul Museum) Seoul, South Korea
Conceptual Poetry – Solo project curated by Arta (Art Central) Hong Kong

2022

ART TAIPEI (333 Gallery) Taipei, Taiwan
SKIN DEEP -Solo exhibition (Ascaso Gallery) Caracas, Venezuela
A New Horizon – Group exhibition (Akrilyc / Gallery 46) London

INTI-PUNKU – Group exhibition (Strouk Gallery) Paris, France
Baanai / Javier Martin – Duo Exhibition (Maki Gallery) ISETAN The Space,Tokyo, Japan
Cute Tunes for Serious Sapiens – Group exhibition (Ascaso Gallery) Miami, USA
Lights Appropriation Solo exhibition (Pulpo Gallery) Murnau, Germany

2021

Skin in the Game – Group exhibition (Gallery HZ) Hong Kong

ICONIC ; 아이코닉 – Group exhibition (Seoul Museum) Seoul, South Korea
We Dance You Mean – Group exhibition (Cerquone Gallery) Madrid, Spain
INTERAZIONI -Group exhibition (A Pick Gallery) Turin, Italy

2020

Blindness -Solo exhibition (Koo House Museum) Yangpyeong, South Korea
Alma- A Room Without Walls Public Installation (TEAF20) Ulsan, South Korea
Blindness -Solo exhibition (Tri-bowl Art Space) Incheon, South Korea
Blindness -Solo exhibition (Audemars Piguet House) Madrid, Spain
Gallery Collection vol.1 (Tezukayama Gallery) Osaka, Japan

2019

Borderless Artist Project -Solo exhibition (Andong Arts & Culture Center) Andong, South Korea
Infinite Light – Solo exhibition (Maki Gallery) Tokyo, Japan
Borderless Artist -Solo exhibition (Seoul Museum) Seoul, South Korea
Blindness -Solo exhibition (Valli Art Gallery) New York, USA

Plan B (David Zwirner Gallery) New York, USA
Blindness The Dark Box Interactive Installation (520 West 28th by Zaha Hadid) New York
Blindness -Solo exhibition Curated by Valli Art Gallery (Miami Design District) Miami,USA

2018

Intra Moenia – Cattelani Collections (Campori Castle of Soliera) Modena, Italy
Blindness The Dark Box Interactive Installation (Valli Art Gallery), Miami, USA
Selected Works (Valli Art Gallery) New York, USA

Blindness x Cosybox (Cannes Film Festival) Cannes, France
Dear my wedding dress (Seoul Museum) Seoul, South Korea
Blindness The Appropriation of Beauty Curated by Robert C. Morgan, New York, USA

36th Korea Galleries Art Fair (Paik Hae Young Gallery) Seoul, South Korea
Convergence (Galerie Art District) Paris, France

2017

Blindness Alma- A Room Without Walls Installation (Valli Art Gallery Miami, USA

Art Miami (Paik Hae Young Gallery) Miami, USA
RAW- Blindness The Dark Box Interactive Installation (YAI) Miami, USA
Forza Group exhibition (Galerie Leroyer) Montréal, Canada
Can’t Take My Eyes Off of You (Paik Hae Young Gallery) Seoul, South Korea

Art021 Shanghai Contemporary Art Fair (Matthew Liu Fine Arts) Shanghai, China
Within The Light -Solo exhibition (Heart House Private Members Club) Munich

Art Shenzhen (Matthew Liu Fine Arts) Shenzhen, China
New Ways of Seeing, Art World Forum, Liang Yi Museum, Hong Kong – Meet the Artist (Soho House) New York, USA

Scope Art Show (J+ Gallery) Metropolitan Pavilion, New York, USA
LIES & LIGHT, Video Performance at Museum of Contemporary Art (MOCA),Jacksonville, FL
Art Palm Beach (Valli Art Gallery), West Palm Beach, FL

2016

Context Art Miami (Valli Art Gallery) Miami, USA

Artist in Residence (Soho House) New York, USA
Blindness -Solo exhibition Curated by Valli Art Gallery (Toys for Boys) Miami, USA
Context New York (Valli Art Gallery) New York, USA

Private Event Blindness Neon Collection, JetSmarter, Malibú, CA
LIES & LIGHT Solo exhibition (California Tower, Loft 22), Hong Kong

2015

Basel Blindness, Art Basel Miami Week (Valli Art Gallery) Wynwood, Miami, USA
War, Consumption and Other Human Hobbies Solo exhibition (Valli Art Gallery) Miami, USA
Summer Show (Matthew Liu Fine Arts) Shanghai, China

Art Busan (Asian Art Works) Busan, South Korea
Art Edition Art Fair, (Hangaram Art Museum of Seoul) Seoul, South Korea

2014

3A/Galleries, Art Basel Week, Miami, USA
Select Fair (Lavio Fine Art) Miami, USA
Blindness NEON (Kee Members Club) Hong Kong, China

Art021 Shanghai Contemporary Art Fair (Matthew Liu Fine Arts) Shanghai, China
Group exhibition (Pantocrátor Gallery) EBPC FreeTrade Zone, Shanghai, China

Cambiando Vidas (Luz Botero Fine Art) Panamá
Art Gwangju, (Lavio Fine Art) Gwangju, South Korea

Art Busan, (Lavio Fine Art) Busan, South Korea
“Eyes on me, please!” Solo exhibition (Houses of Art Gallery – HOA) Marbella, Spain
Art Lima (Pantocrátor Gallery) Lima, Perú

2013

Enlaces (Luz Botero Fine Art) Ocean Reef Island, Panamá
Select Fair, Art Basel Week, Miami Beach, USA
Live Painting (Art Shopping Festival for Charity) Andorra
Swab Art Fair, (Pantocrátor Gallery) Barcelona, Spain

Art Meets Fashion, City Bush Terminal, Brooklyn, New York, USA
M50 Contemporary Art District (Pantocrátor Gallery) Shanghai, China
Lavio Fine Art Vip Preview, Kee Club, Shanghai, China
CNCPT13 Gallery, Amsterdam

2012

Eyes wide shut, Solo exhibition (Arte City) Miami Beach, USA
Amsterdam Showcase, (Pantocrátor Gallery) Amsterdam, Holland

Art is the message Solo exhibition (Myra Galleries) Wynwood Miami, USA
Berliner Liste Art Fair, (Pantocrátor Gallery) Berlin, Germany

Frankenstein (ECCO) Contemporary Art Center, Cádiz, Spain
Swab Art Fair (Pantocrátor Gallery) Barcelona, Spain

Group exhibition M50, (Pantocrátor Gallery) Shanghai, China
Group exhibition (Houses of Art Gallery, HOA) Marbella, Spain

2011

Lo Que Existe Sin Ser Visto (Poligono Gallery) Marbella, Spain

Group exhibition (IVAM, Institut Valencià d’Art Modern) Valencia, Spain
“Thinking about Color” (Kasser Rassu Gallery) Marbella, Spain
Blindness (Baltus West Erie) Chicago, USA
Imm Cologne (Baltus) Cologne, Germany

2010

Blindness on paper (Baltus Beverly Blvd) Los Angeles, USA
Permanent Exhibition (Collection Prive) Cannes, France

2009

Art Fusion, Sotogrande Cádiz, Spain

Blindness (Resort La Torre Golf, Copa Davis) Murcia, Spain
Showroom Grupo Grancasa, Madrid, Spain

2008

Maison & Objet (Baltus) Paris, France

2007

Collective Quum Artist Digital Printing (Pedro Peña Art Gallery) Marbella, Spain
Collective Quum Artist (Pedro Peña Art Gallery) Marbella, Spain

2006

Estampa Art Fair, Madrid, Spain
Arte Lisboa Art Fair, Lisbon, Portugal

1994

Henry Studio Collective (Centro de los hijos the Ceuta) Spain
Group exhibition (Revellín Museum) Ceuta, Spain

Awards

2011 Young Award arts and environmental sustainability, Marbella Spain
1994 The Painting modality of the Painting and drawing contest for children “Caja Madrid” Ceuta, Spain
1994 Mention of Honor for the exhibition of Henry’s studio students (Museo del Revellín) Ceuta, Spain

Speaking Engagements

2019 Artist Talk (The CORE members club) New York, USA
2017 Artist Talk (Soho House) New York, USA
2015 Conference at Alborán College, Marbella, Spain

Bernabé Gilabert

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Editorial

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Bernabé Gilabert, master of abstraction

The painter Bernabé Gilabert Barba was born in 1953 in Valdepeñas (Ciudad Real, Spain). This circumstance already influences him, as it is the birthplace of the painter of the Generation of ’27, Gregorio Prieto, and the city where the International Exhibition of Fine Arts has been celebrated for 83 years. From a young age, Bernabé Gilabert Barba eagerly awaited the arrival of September to admire each of the artworks presented there.
At the age of 19, Bernabé Gilabert Barba moved to the city of Madrid for work reasons, where he met painters Julian Gomez, Jose Luis de Antonio, and Jose Maria Gallego Lopez (a caricaturist), creating the studio on Calle de la Bola, where they shared space, conversations, critiques, and learned from each other for several years. He visited galleries and museums, enriching himself intellectually.
He received a scholarship from the Castilla La Mancha Foundation to attend Fine Arts courses in Almagro (Ciudad Real), taught by Manuel L. Villaseñor, Antonio López, José Antonio Vargas, Julio López, and Guijarro, among others. Influenced by his teachers from La Mancha and his studio mate Julian Gomez, he worked in a realistic style.
In the 1980s, he began participating in competitions, winning the first prize in the XV National Painting Contest of Campo de Criptana (Ciudad Real), the second prize in the Castilla-La Mancha Contest in Almagro, and the third prize, the Golden Grape, in the National Fine Arts Exhibition of Valdepeñas.
Around 1999, Bernabé Gilabert’s work started to evolve towards broader planes of color and more concise figurative forms, where color predominates, influenced by his studio mate Jose Luis de Antonio.
In the early years of the new century, planes of color became the protagonists of his work, leading to a geometric abstraction inherited from constructivism. Inspired by the color planes of the walls that are exposed when a dwelling collapses, he became obsessed with uninhabited spaces.

The plinth in a building is located at the bottom of the wall, but for Gilabert it is at visual height, losing part of its original meaning, reaching a hierarchy that was previously stolen. The artist observes the different limits of the plinths and the possibilities of association through their fragmentation, seeking through primary geometric forms a totality in permanent revision. He fills the planes with colours, these expand, creating pictures within the painting, planes that energise the monochrome statism.

These real spaces, full of light and colour, serve as an excuse to try to elevate through meditation and the artisan process the pleasure of contemplating something as simple as the union of different colour planes in the baseboards. Colour creates a space that could be inhabitable, although in reality it can only be penetrated by the eye and initiate a dream.

Valdepeñas (Ciudad Real) 1953 .-

Individual exhibitions:

2010 .- Torreón de Lozoya. Caja Segovia Segovia-OS

2009 .- Monasterio Santa Maria la Real de Nieva OS Caja Segovia

2008 .- CC Joan Miró-Mostoles

2006 .- Gallery Marita Segovia-Madrid-Museo A. Lopez Torres-Tomelloso .-

2005 .- City Museum-Valdepeñas

2002 .- Eklectica-Madrid Gallery

2000 .- Sabape-Valdepeñas Art Gallery

1999 .- Escuela de Arte La Palma, Madrid

Exhibitions:

2008 .- Artists Collective Gallery-Marita Segovia-Madrid International Exhibition-Stand ArtMadrid Marita Segovia Gallery

2006 .- MAEN-New Media-Center-Aymt.de Cultural Kaleidoscope Mostoles

Art Miami MagazineArt Miami Magazine

Art Miami MagazineArt Miami Magazine

III Edition of Venezuela Art Fair

III Edition of Venezuela Art Fair Delivers Impressive Turnout
Venezuela Art Fair Emerges as a Cultural Exchange Hub, Fostering Inclusivity

Contemporary Artist Marketing Strategies

GEGO

GEGO (Gertrud Goldschmidt). Hamburgo 1912- Caracas 1994

SU OBRA

EXPOSICIONES INDIVIDUALES

EXPOSICIONES COLECTIVAS

LIBROS

CONTACTO

“Crossing Cultures & Cities” Exhibition

“Crossing Cultures & Cities” Exhibition

Gego

Un catálogo para sumergirse en las redes de Gego

17th Annual Breakfast with the Arts

17th Annual Breakfast with the Arts & Hospitality

TICKET INFORMATION

Félix González-Torres

Félix González-Torres

American, b. Guáimaro, Cuba 1957, d. Miami, Florida 1996

Sandra Monterroso

Sandra Monterroso

SELECTED SOLO EXHIBITIONS

SELECTED PUBLIC COLLECTIONS

Sandra Monterroso

The Healing Paradox

Exhibition text by independent curator and art historian Alma Ruiz

January 26 – March 16, 2023

JAVIER MARTIN

Javier Martin Appropriation of Fragments Exhibition

Bernabé Gilabert

Bernabé Gilabert, master of abstraction

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17th Annual Breakfast with the Arts & Hospitality

TICKET INFORMATION

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SELECTED SOLO EXHIBITIONS

SELECTED PUBLIC COLLECTIONS

Sandra Monterroso

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Bernabé Gilabert, master of abstraction

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