¿Quién es Teresa Cabello? Nací en Caracas, Venezuela el 27 de marzo de 1959. Escultora, pintora y ceramista desde 1991. Cursé estudios de Arquitectura en la Universidad Central de Venezuela en Caracas y soy graduada Cum Laude en Artes en I.U. ARMANDO REVERON en Caracas, en 2009. He trabajado como instructora de escultura en Miami Art Center, Wynwood y Five Innovation Arts en el Centro Cultural de Miramar. Directora y Fundadora de Biennale Wynwood, Miami. He participado en varias exposiciones colectivas e individuales en Europa, América y Asia. También he participado en Ferias de Arte como Artexpo Las Vegas, Beijing, Shanghai y Shenzhen Art Fairs, Artexpo NY y FIA Caracas. Autora del Monumento al Niño Venezolano, Fundación UMA (“Una Mano Amiga”) Parque Cristal, Chacao, Caracas. Ahora estoy residenciada en Pembroke Pines, Florida.
En tus trabajos de escultora, ¿tienes presente y usas deliberadamente la llamada “divina proporción” o “sección de oro”? Durante mi entrenamiento en escultura estudié anatomía humana y como escultora figurativa respeto las proporciones de la figura humana en mis obras. En la estructura humana está implícita la Proporción Divina, sin embargo, no es algo que tenga presente ni use deliberadamente.
¿Qué te impulsa a dedicarte a la práctica artística? Honestamente no sabría definir qué me impulsa a dedicarme a la práctica artística. Desde niña he estado ligada al arte y mis padres siempre fomentaron esa inclinación. Además, en todas las etapas de mi vida ha habido alguien que me ha llevado y, en algunos casos, guiado por ese camino. Diría que es un oficio que me permite expresarme, que me hace feliz y que puedo practicar en cualquier parte del mundo.
¿Qué ansiabas?, ¿Lo has logrado? Ansiaba hacer de este oficio una profesión. Eso me llevó a estudiar licenciatura en Artes Plásticas para tener una base teórica, ampliar mi visión artística y poder guiar y enseñar a otros a desarrollarse en la práctica artística. Considero que el conocimiento siempre es un logro y con el tiempo he ido creando un lenguaje propio, aunque mi obra siempre está en desarrollo. Defínete mediante hashtags o etiquetas.
Defínete mediante hashtags o etiquetas.
#esculturafigurativa #figurahumana #fragmento
¿Cuáles son los temas de tu trabajo artístico? En un principio el tema fue el equilibrio a través del desafío en la estabilidad en la obra. Más adelante decidí integrar la escultura con algunos elementos de la pintura como son el paisaje, color, luz y creé la serie “Nadadores” en la que la figura humana se desdibuja en el elemento agua. Y actualmente trabajo en “Fragmentos”, que representan la ruptura a lo unificado, la nostalgia hacia lo que una vez fue un todo sólido y estable. Un tema muy íntimo relacionado con la migración, lo que arrastramos y lo que dejamos atrás, en la que cada escultura es como un cuento corto en este trayecto de vida.
¿Qué es para ti la escultura? La escultura es el medio que me permite expresarme, es un lenguaje que ocupa un lugar en el espacio físico y ofrece diferentes perspectivas en una sola obra. Trabajo el modelado en arcilla porque me gusta el contacto y la interacción con el material, lo maleable y plástico del barro. Me gusta tocar, sentir con mis manos, poder abrazar, rodear y la escultura me lo permite.
¿Nos puede decir que evoca su obra? Cada obra de arte despierta en el observador una imagen distinta de acuerdo a su cultura, su educación, sus emociones y su personalidad. Solo pretendo que mi obra evoque lo que soy: alegría, seguridad, equilibrio y honestidad.
¿Algún proyecto, pendiente, que te gustaría realizar? Este año fui invitada por el Centro Cultural de la Ciudad de Miramar para un “Solo Show” durante el mes de la Hispanidad en octubre de 2022 y estoy desarrollando la obra “Fragmentos” con una serie de esculturas cuyo tema es la inmigración. Entre mis más valiosos sueños está tener la oportunidad de poder realizar una de mis obras en gran formato en algún espacio abierto de este país que me acogió.
Para muchos artistas y filósofos la mitología griega ha sido una permanente fuente de inspiración. En este sentido, el filósofo Friedrich Nietzsche (1844-1900) tomó como referencia simbólica a los dioses Apolo y Dionisos para exponer su visión sobre el arte y la cultura occidental. La primera mención a ambos dioses apareció en su obra “El nacimiento de la tragedia”.
Lo apolíneo y lo dionisíaco Para Nietzsche estos dos adjetivos sirven para calificar las distintas manifestaciones artísticas. Lo apolíneo expresa las formas acabadas y bellas que se manifiestan en las artes figurativas, mientras que lo dionisíaco se refiere a aquellas manifestaciones artísticas basadas en el ritmo y la pasión. Por lo tanto, se trata de dos fuerzas creadoras o dos tipos de energía que utiliza el artista como forma de expresión para plasmar sus anhelos e inquietudes.
El dios Apolo sirve como símbolo para explicar el arte que busca la perfección en las formas y la claridad conceptual, tal y como ocurre con la arquitectura clásica, la pintura figurativa o la poesía con una métrica convencional. Estas manifestaciones artísticas son apolíneas porque se fundamentan en un anhelo de sabiduría y serenidad estética.
El dios Dionisos representa las pulsiones y los instintos primarios. Así, en el arte destaca por su componente pasional, tal y como se pone de manifiesto en algunas danzas, en la música primitiva y, en definitiva, en cualquier expresión artística que pretenda conectar con las pulsiones humanas más profundas.
Dos símbolos que se complementan Para Nietzsche no se trata de símbolos totalmente antagónicos, pues en todo arte hay componentes apolíneos y dionisíacos. El filósofo viene a decir que la fuerza inspiradora del dios Apolo lleva en su interior a Dionisos y, a la inversa, cualquier manifestación dionisíaca esconde un componente apolíneo.
En el ámbito educativo Las reflexiones de Nietzsche sobre ambos conceptos pueden servir como referentes válidos para la educación. Así, cualquier modelo educativo debería incluir ambas fuerzas creadoras. Lo apolíneo está presente en la claridad conceptual y en los aspectos formales del proceso de enseñanza-aprendizaje, mientras que lo dionisíaco late en las emociones más primarias del individuo. En otras palabras, aprendemos con la razón simbolizada en el dios Apolo y con la pasión de inspiración dionisíaca.
La visión de Nietzsche conecta con el planteamiento de Freud Para Freud los esquemas mentales individuales se dividen en tres dimensiones: el ello, el súper-yo y el yo.
– El ello es la parte primaria de nuestra psique y busca la satisfacción de los placeres más básicos y por este motivo esta dimensión del individuo presenta una fuerza dionisíaca.
– El súper yo es la parte de nuestra psique donde se incorporan las normas morales que rigen el conjunto de la sociedad y de alguna manera esta dimensión estaría asociada a lo apolíneo.
– El ello y el súper yo se encuentran en un permanente conflicto (lo que queremos hacer y lo que debemos hacer) y entre ambos estaría la tercera estructura mental, el yo.
César Paternosto. Increasing-Decreasing, 2012. Acrylic on canvas. 71 x 81 in. (180.3 x 205.7 cm.). Photo: Oriol Tarridas.
César Paternosto (1931) was born in La Plata, Argentina. He is a painter and sculptor. Since 1967 he lived in New York and in 2004 he moved to Segovia (Spain) where he presented a retrospective exhibition at the Contemporary Art Museum Esteban Vicente with the curatorship of Tomás Llorens. In 1969, Paternosto started a series of white and uniform works and began to paint on the wide edges of the frame.
In 1972, he won the Guggenheim Scholarship. He had numerous solo and group exhibitions both at the United States, as well as in Latin America and Europe. In 2010 the architects Rafael Moneo and Pedro Elcuaz invited him to intervene the lobby of the Atocha Station in Madrid for which the artist ideated an arrangement of colored rectangles that seem to appear and disappear as the traveler or viewer walks by. He recently exhibited at the Museum Thyssen-Bornemisza in Madrid (Spain) at the exhibition called “Towards Painting as Object” that established a dialogue between paintings by the artist and works from the museum’s personal collection (november, 2017- january, 2018).
His works are included in public and private collections such as: the MoMA and the Guggenheim Museum in New York; the Museum of Fine Arts in Boston; the Kunstmuseum Bern, Switzerland, the Art Center National Museum Reina Sofía in Madrid, The Ford Foundation in New York, as well as in the National Museum of Fine Arts, the Museum of Modern Art and the Latin American Art Museum in Buenos Aires. His works also belong to private collections such as the Diana and Bruce Halle Collection, Arizona (USA); the Patrica Phelps Cisneros Collection; the Ella Fontanals-Cisneros Collection, Miami; and the Baroness Carmen Thyssen-Bornemisza and Norman Foster Collections in Madrid (Spain).
César Paternosto Red Trio #6 – 2015 – Oil on canvas, 100 x 86 cm (installed) – 3 panel Artist Collection, Segovia
Staccato-like, these intervals emphasize the relational quality between the works. Their perception is displaced from the habitual frontal dialogue with the object, viewers are prodded towards a time-transversal reading that restores the visual event as a structural element of the architectural space.
The perception of motion demanded by the work generates the optical effect between planes of color that evolve, appear, and disappear, emphasizing the relational and appropriative quality of the space that typifies this proposal.
This perception, identified with what Paternosto calls “sensitive geometry,” originated in one of his most emblematic works: Staccato (1965, acquired by the Boston Fine Arts Museum in 2008. Staccato is a pictorial symphony based on jazz and tango, where sinuous, undulating color ribbons explore atonality and daring chords that translate into vivid pictorial contrast. The emergence of sensitive geometry in Paternosto’s work corresponds to his formative period in the late 1950s and early 1960s and acts as a countervailing to the strong dominance of the MADI legacy that characterizes geometric abstraction in Argentina at the time.
Established in New York City for over three decades (between 1964 and 2004), Paternosto develops the line of investigation that will characterize his artistic proposal, where the legacy of geometric abstraction in modern art—specifically the emblematic figures of Piet Mondrian and Van Doesburg—are combined with the ancestral traditions of pre-Columbian cultures. The artist made many journeys to the Andean region, restricting his palette to gray and earthen tones during this period.
Also from those years comes his discovery of the “oblique gaze.” Although Paternosto had already pushed the traditional boundaries of the painting to produce canvases with irregular curved outlines, now the center of attention moves from the front to the edges of the canvas, transforming the painting into an object and forcing viewers into a more active reception that demands side-to-side movement to capture the work in its totality.
The influence of his years studying architecture is essential. The paintings, freed from frames and placed at intervals in the gallery wall, behave as a single work of art to which architectural space and light are integrated as constitutive elements. In fact, this artist works his paintings with tungsten light, because this is the light they will receive once they are on display, thus guaranteeing the chromatic efficacy that is so dear to his oeuvre.
The 17 works included in César Paternosto: Painting and Architecture, now on exhibit at Durban Segnini, are articulated into a single work that unfolds, like a ribbon, across space into an evolving symphony where light, color, and rhythm propose a distilled enjoyment of the visual event integrated into the surrounding space.
Works by César Paternosto are part of important collections such as the Museum of Modern Art (MoMA) and the Solomon R. Guggenheim Museum, both in New York City; the Hirshorn Museum & Sculpture Garden, in Washington, D. C.; the Boston Fine Arts Museum; the Museo Reina Sofía in Madrid; the Kunstmuseum, in Bern; and the Museo Nacional de Bellas Artes, among others.
La escritora Dhalma Llanos-Figueroa presenta la novela “Indómita”
La editorial HarperCollins Español presenta “Indómita”, una revolucionaria novela de la escritora puertorriqueña/neoyorquina Dahlma Llanos Figueroa. Su trama ilustra sobre el comercio transatlántico de personas esclavizadas en la Puerto Rico del siglo XIX y enseña que el espíritu humano triunfa aún en las condiciones más brutales. Su protagonista aprende a reconocer y aceptar las muchas caras del amor: el amor de madre, el amor de hija, el amor de hermana, el amor de la comunidad, y el amor propio. “Indómita” se halla disponible desde el 10 de mayo.El poder inolvidable de “Beloved” de Toni Morrison y la atmósfera evocativa de “A Respectable Trade”, de Phillippa Gregory, se combinan en esta revolucionaria novela de Dahlma Llanos-Figueroa, que ilustra un aspecto poco conocido de la historia –el comercio transatlántico de personas esclavizadas en Puerto Rico–, narrado a través de la experiencia de Pola, una cautiva africana utilizada como paridora de esclavos en el siglo XIX. Dahlma Llanos-Figueroa nació en Puerto Rico y se crió en la ciudad de Nueva York. Ella es un producto de las comunidades puertorriqueñas en la isla y en el sur del Bronx. Cuando era niña, la enviaron a vivir con sus abuelos en Puerto Rico, donde conoció la cultura rural de Puerto Rico, incluida la narración de cuentos que era natural para las mujeres de su familia, especialmente las mujeres mayores. Gran parte de su trabajo se basa en sus experiencias durante este tiempo. Llanos-Figueroa enseñó escritura creativa, lenguaje y literatura en el sistema escolar de la ciudad de Nueva York antes de convertirse en bibliotecaria y escritora para adultos jóvenes. Ella vive en la ciudad de Nueva York.
En Jardines invisibles de Lelo Galbán y Froilán Escobar, como en el poemario de José Lezama Lima Noche insular: jardines invisibles, entrad “desnudos en vuestros lechos marmóreos, vivid y recordad como los viajeros pintados, ciudades giratorias, líquidos jardines verdinegros”, porque lo que cuenta acá es el misterio que se ofrece, la figura pero sobre todo el alma de la figura, el concepto de la luz y su sombra como un paradigma filosófico y una cosmología. Los Jardines de Galbán y Escobar están habitados por entes, configuraciones de lo femenino, bipolares en la luz y la oscura sombra cual manifestación de lo lunar las de Galbán, evanescentes y fantasmagóricas las de Froilán, definidos los colores en Galbán, desvaídos en Froilán, magia en ambas florestas como una tentación, un grito, un atentado contra la obstinada, obscena cotidianidad. ¡Entrad, sí, pero sin vuelta atrás! Armando de Armas
In Invisible Gardens by Lelo Galbán and Froilán Escobar, as in the collection of poems by José Lezama Lima Insular Night: Invisible Gardens, enter “naked into your marble beds, live and remember like painted travellers, revolving cities, liquid green-black gardens”, because it what counts here is the mystery that is offered, the figure but above all the soul of the figure, the concept of light and its shadow as a philosophical paradigm and a cosmology. The Gardens of Galbán and Escobar are inhabited by entities, configurations of the feminine, bipolar in light and dark shadow like a manifestation of the lunar those of Galbán, evanescent and phantasmagorical those of Froilán, defined colors in Galbán, faded in Froilán, magic in both forests like a temptation, a cry, an attack against the obstinate, obscene daily life. Enter, yes, but without turning back! Armando de Armas
Monumental sculpture, Architecture, Painting, Urbanism : A conceptual continuity
Art critics
“Actually, Marino di teana’s whole body of work is a vast architectural proposal. In his atelier, one can see steel friezes just waiting for installation, a high-rise with glass slabs, fountain mock-ups, proposals for stained glass walls lighted on both sides That atelier contains enough to build a whole city of steel with glistening transparent colours.” Michel RAGON
“Marino Di Teana’s sculpture is based on the principle that since our fashion is ever more open, sculpture cannot continue to have the appearance of a block. Many other sculptures have used the same premise as their point of departure, and have opened up their sculptures by making holes in them. Marino Di Teana on his part separates them from the mass, creating a living space inside the sculpture, creating dialogues between the empty spaces and the full ones.”
“From the smallest of his sculptures – always designed as an original plastic proposal – to the monumental realisation in situ of certain works linking up, by necessity, with the very principle of architecture, Marino Di Teana’s only aim is to balance the forms that he creates around the spatiality of the vacuum intuitively perceived as active. Even if, by continuing part of the modern tradition in this way, he works the metal that he welds, this is (unlike what happens with his peers, Chillida, David Smith or Anthony Caro) without any expressionist desire, and for the sole purpose of contrasting with Nature, which he respects above all, a rational orthogonality distinct from the organic forms, but both profoundly human and gratuitous”. Dominique Le Buhan. (Artcurial)
“You will note that the majority of the sculptures bear the name “Structure”. That again proves that the concern with penetration of space is omnipresent. One should not be surprised, he says, if, in a sculpture, the living space separating two parallel forms is so large. The point is that in fact it does not separate them. On the contrary: it’s the link between those forms. They experience that perpetual tension attracting them toward each other… Always, whatever the scale may be, from the small, fragile and poetic works to the ever more powerful and viral monuments, rigor dominates. The emotion rises from the tension between the full spaces and the empty ones, from the skilful proportions leading to harmony”. Marcel Joray ( Griffon editions President – Switzerland)
“Marino Di Teana remains faithful to that fine and long tradition. In that sense he is a sublime blacksmith of the art of his time”. Marc Gaillard
Marino Di Teana as seen by Jean-Pierre Arnaud President of Présence de l’Art Contemporain, Angers
For Marino Di Teana, everything seem to come naturally as of his early childhood. We are in Italy, a country of artists if there ever was one. And in Lucania, a territory a bit lost in the South. Shepherds and masons there kept contact with a Nature that they respect, while continuing to shape it lovingly. Between carrying on the ancestral work and creation, the division is not so sharp that a mind with some degree of alertness can’t regularly make the transition. That was the case with the young Francesco Marino. The Roman tile roofs, the streets, the trees, the haystacks and the undulation of the mountains toward infinity awaken in him a feeling for volumes, rhythm, measure, giving a meaning to space and humanising it. He is sixteen years old in 1936 when he expatriates himself to Argentina, to rejoin his father, who had already left to work in that country. To him, as to many other Italians from the South, foreign parts are a second homeland! Since the age of seven, he has been used to working on masons’ scaffolding, and he will be a mason in Buenos Aires. Soon becoming a job site manager, at the same time he takes courses at the Industrial Polytechnical School and initiates himself by reading books on the history of art. Admitted in 1945 to the Higher School of Fine Arts of Buenos Aires, he leaves it with a brilliant record four years later as a “higher professor”, receives the prestigious Mitre prize, and wins six more prizes one after another.
In 1952 he returns to Europe: “For me, Europe was the way of finally seeing the arts of the past in their proper surroundings”. After a trip through Spain, where he discovers Medieval art, he settles in Paris in 1953. His first Paris exhibition is held the following year. Living in a corner of the Mills factory in Pantin, in 1955 he begins working with metal. Michel Ragon, who witnessed this change of course tells us: “He saws cylinders in two or makes curves with a hammer. Certain steel plates that he uses are up to four centimetres thick. Marino Di Teana likes the power of the material, and his sculptures are always animated by a strong impetus”.
From 1956, when he enters the Denise René Gallery, to 1975-76, when he is honoured by an important roving retrospective at the Museum of Modern Art of the city of Paris, there is a succession of exhibitions, catalogues, orders and prizes. He wins the Saint-Gobain first prize in 1962, and receives, from Willy Brandt, the silver medal at the International Congress of Architecture in Bochum (a prize shared with Le Corbusier).
Marino Di Teana’s manner and working spirit then find their complete expression. A robust material, steel or concrete, dynamic space stylisation, without expressionism, the test for utopian projection as manifested in a very large number of mock-ups of buildings or “imaginary cities”. One of his 1972 sculptures is called “Structure de cité à venir” (Structure of a future city). His humanism tempers the apparent coldness of the forms.
Two sculptures created in homage to musicians, Bach and Cimarosa, date from that time. The spirit of music is never very far removed from his compositions, always rigorously organised on the basis of a dynamic vacuum, as music itself continuously plays with silence. His own notes are those few elementary forms that he borrows from Nature and architecture: planes, curves, disks, bars, cylinders. He uses them to build sequences, volumes of varying degree of complexity but always aimed at proposing a proper and harmonious balance between people and their environment.
Some fine exhibitions and activity seething with ideas and new experimentation characterise the last three decades. The tireless Marino Di Teana works with formidable masses of steel, animating new retrospectives and struggling for a practice that would be richer and more open to the spiritual and to the imagination of architecture and town planning. His teaching during a quarter of a century at the American International School of Fontainebleau and the series of lectures given in 1997 in Seoul (where he was applauded by his architecture peers), not to mention the ones that he gave at Harvard and in South America, make this “grand métèque” (métèque” meaning any dark skin foreigner living in France), as he calls himself, one of the best ambassadors on the international cultural scene.
On the picture rails in his atelier in Perigny-sur-Yerres (which he built himself), a visitor can see a continuous series hanging there of photographs of mock-ups of those “cities of the future” that he imagined in the 1960s, staged against a background of an animated sky of moving clouds. Thanks to the photographic montages made by the artist, they dominate, from the guardrail of the upper gallery, the gigantic terracing of the metal sculptures and constitute a perfect rendering, by contrasting complementarity, of the aerial and poetic dimension of Marino Di Teana’s work. Jean-Pierre Arnaud.
Acquisitions in National Collections & Museums
Museum of Cholet. – 1980. Museum of “beaux arts”, Pau – 1987 Museum of Monbéliard, Doubs. – 1980. Museum of Assistance Publique, Paris – 1975. Museum Art and Industie in Saint-Etienne – 1968. Museum Modern Art of Saint Etienne Museum of the New Academy of Musics of Lyon. – 1989. Modern Art Museum of Paris MAMVP – 1970 et 1975
.FRAC (Regional Funds of Contemporay Art) : .FRAC Oise – 1983. .FRAC Ile de France – 1984. .FRAC Centre 2004
FNAC (National Funds of contemporary Art) : Cultur Ministery, Defence Ministery, Evreux National Museum, Fnac Paris La Defense purchases in 1964, 1968, 1981, 1987.
Museum “Plein Air” of the Contemporary Sculpture, on the qays of the Seine, Ville de Paris – 1983 Art contemporary center Raymond Farbos, Mont de Marsan. Art Collection of Francois Pinault, L’Oréal, Sonia Delaunay, …
Culture and communication Ministery, rue Berryer Paris. The bank Société Générale’s contemporary art collection, in the Valmy towers of Paris La Défense. 1996.
Italy
Civic museum of Padova – 1977. City of Chiaromonte, Lucania – 1985. Pinacoteca di Bari La Paglia – 1994. MUSMA – City of Matera – 2003. Conseil Régional de la Basilicata, Pallazo de la Regione, Potenza – 2007.
Belgium
ULB – Brussels administrative center, Acquisition by the museum of Ixelles. Collection Thomas Neirynck, Maison Bernheim in the Foundation Roi Baudouin.
Switzerland
National museum of Neuchâtel – 1992. Museum of Beaux Arts de la Chaux de Fond. City of Neuchâtel, Homage to Marcel Joray – 1997.
Germany Museum of the city of Münster – 1977 Saarlandmuseum Saarbrücken, Make-ups of the architectural cities -1982, outside sculpture -1987. Collection Giebels galery Saarlouis.
Danemark Kunstmuseum of Aarhus -1968.
USA
Los Angeles County Museum of Art, LACMA California- 1968
JAPON
“Satoru Sato Contemporary Art Museum” City of TOME Collection concrete art and modern art – 2007.
ARGENTINA
Fundación Banco de la Nacion Argentina, Homage to Lao Tseu en Inox – 1981.
Biographical
Born on 8th August 1920, in Teana, in Basilicat Province, near Potenza in South Italy.At age 16, emigrated to Argentina as a mason. At age 22, became a construction site manager. At the same time, he studied in the evening at the Salguero Polytechnic at the Architectural National School. Entered the Higher National School of Fine Arts Ernesto de la Carcova in Buenos Aires via an entrance competition. Graduated with the title of Higher Professor and obtained a professorship at that school. Won the Premio Mittre, equivalent to the European Grand Prix de Rome.
Returned to Europe in 1952, settling in Paris. In 1956, his works are exhibited in the Denise René gallery.Beginning with 1960, Denise René organizes several exhibitions of di Teana’s works.
Since that time, he participates in numerous presentations of contemporary art in France and abroad. His oeuvre is shown at many museums like Ixelles in Belgium, Leverkusen, Frankfurt, Munster, Copenhagen, Tome in Japan, … He was present in the Stendhal gallery in Milan, Redfern Gallery in London, Claude Bernard and Artcurial in Paris
Now represented by the Gallery Michèle Broutta in Paris and the Krings Ernst Gallery in Koln Germany, punctually by Dutko or Lahumière gallery in Paris, or Galerie Jonas in Switserland.
In the 70s begins a series of comprehensive retrospective exhibitions at the Museum of Contemporary Art of the City of Paris in 1976, Museum in Pau in 1981, National Saarland Museum, Saarbrücken in 1987, among others. He represents Argentina at the Biennale of Venice in 1982, and France at the International Symposium of the Arts and the Sciences of Seoul ( Korea) in 1997..
His works are acquired for public collections: the Museum of Contemporary Art of the City of Paris, the George Pompidou Center, National Contemporary Art Museum, The New Contemporary Art Museum MACVAL, several French FRACs (National Contemporary Art Fund) as well as for renown private collections such as the L’OREAL company, Claude Pompidou, Francois PINAULT or PIERRE BERGÉ collections, The Marcel Joray collection in Switzerland, The Thomas Neirynck donation at the King Baudouin Fundation in Belgium.
Di Teana realizes winning projects for public commission: more than 50 monumental sculptures as much as 20 m high (Paris/Fontenay sous Bois, Montpelier, Orléans-Chevilly, the military Canjuers head quarters, Var).
The sculpture “Liberté, Hommage to the General de Gaulle” in Fontenay is one of the largest sculptures of Europe. (23 meters High in Corten Steel)
Numerous prizes including:
– The First Prize of Saint Gobain awarded by a jury comprising Zadkine, Michel Seuphor and Alberto Giacometti.
– the Honorary Diploma of the 14th Triennial in Milan, Italy
– Silver Medal at the International Congress of Architecture, awarded by Willy Brandt, in Bochum, Germany.
– Two gold medals awarded by the Provincia di Basilicata and Teana – the artist’s native village in Italy.
– Appointment a member of the National Academy of Fine Arts and Architecture of Argentina (Buenos Aires).
– Medal of Recognition from the University of Seoul, South Korea.
– Silver Medal from the General Council of the Val-de-Marne Department in France
– Grand Silver Medal awarded by the French Academy of Architecture for the body of his work.
– Honorary medal at the 16th Sculpture International Triennal of Poznan, Poland
– Appointed Citoyen d’Honneur by the region of Basilicata, Italy
– Appointed Chevalier des Arts et des Lettres by the French government.
Since 1980, di Teana has been a professor at the University of Art and Architecture in Fontainebleau, USA. Lives and works in his atelier in Périgny sur Yerres – France
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Principal monographs: Marino di Teana by Jean Clay, Editions du Griffon. Neuchâtel, Switzerland (1967: English, French and German editions). Plastiken, Gemälde und Architeckturmodelle, published by the Saarbrücken Museum Marino di Teana by Thomas Alva Negri, Ediciones de Arte Gaglianone, Buenos Aires L’espace vif de Marino di Teana, by Dominique Lebuhan, éditions Artcurial Marino di Teana in the Petit Livre Bleu series, by Dora Vallier, Edition Artcurial. Marino di Teana, sculptures and drawings, by Maurice Allemand Marino di Teana, lo spazio plamatico, by Giovanni Percoco, published by the General Council of Basilicata. Italy. Marino di Teana, alla ricerca di se stesso (in search of himself), by Giovanni Percoco, Edition amministrazione comunale L’espacement géométrique infini (infinite geometrical spacing), by Dominique Lebuhan, éditions Artcurial Paris
Born in 1920 in Teana, a small village in southern Italy. In 1936, his grandfather saved him from compulsory enlistments to go to war in Russia, sending him to Argentina. Engaged as a bricklayer, he made the evening classes returned to competition at the National School of Fine Arts in Buenos Aires.At the end of his studies, he obtained the Premio Miter, equivalent to the Prix de Rome, as well as the title of professor superior. But Marino di Teana prefers to return to Europe.
Art, it is the city. The city is art.” “Art and architecture are indissociable.” “Art has a meaning”
“a table, a fresco, enriches the house and its architecture. The sculpture which belongs to a significant unit, which enriches the city and its architecture. When one looks of the Louvre to the triumphal arch, it is the avenue, the place, the sculptures and the monuments located at the neuralgic places which gives the artistic and significant value to this unit. If one shifts the sculpture Horses’s Carroussel out of the prospect, they lose their beauty. They remain a body without heart.”
“art is not simply a blow of brush on a table, nor a curio on a piano”.
1959 – Persan Beaumont (Oise). Frieze made of stainless steel and coloured glass. Length 4m. Created for Filage Curty company.
1962 – 1st Prize in the Saint Gobain competition. Stainless structure. Length 13m
1963 – Chantereine (Oise). Frieze made of Saint Gobain glass. 8 x 2m. Created for the laboratories of the Saint Gobain glass factory in Chantereine.
– Contemporary art exhibition at the grand palais in Paris, under the aegis of André Malraux, minister of culture: Set of 8 luminous Fountains, coloured lighting with 4 periods. Material : 600 doors made of St Gobain Clarit glass. Each fountain 9m high. Produced in connection with the foire de Paris (Paris fair).
1964 – 1st Prize in the International competition of Leverkusen, Germany. Stainless steel structure 5m high.
– Decor on the theme of sculpture, created in Montreal for choreography by Janot Lebecque with music by Pierre Boulez
1965 – Chapel at Garde Freinet ( Var). Improvement and renovation of the chapel. Production of all of the stained glass representing the Way of the Cross.
– Carpentras. Stainless steel sculpture for the Collège Technique, 4m x 8m (“1%” state order) – Choisy Le Roi. 2 stainless steel sculptures 2m high for the “Residence” building groups.
1966 – Paris la Défense. Steel sculpture in the lobby of high-rise CB15. 120 x 190 x 40cm (commissioned by Pétroles d’Aquitaine)
1967 – Chevilly – Orléans. Steel structure 17m high. Created for GEEP Industrie. – 1967-1972 Montpellier Cor-Ten steel structure for LTE Jean Mermoz, 17,00 m hig – All the pictures
1968 – Gournay en Brie (Seine maritime). Concrete structure for the CES 5m high – Mulhouse. Steel structure for the ENET 10 m high (“1%” state commission) – Thann (haut Rhin). Steel sculpture for the CETI – University of Mulhouse, 2m x 4m (“1%”)
1969 – Reims, LET. Structure en acier corten de2m x 4m x 6m (“1%”)
1970 – BFCE Paris boulevard Haussman. Complete realisation of the entrance lobby: space, furniture, stainless steel sculpture 4m high. – Ivry sur Seine. Carbon steel structure for the CES, 2.3m x 2.3m (“1%”) – Reims. Stainless steel sculpture for the CES of quartier de l’ Europe, 4m high. (“1%”)
1971 – Grenoble. Carbon steel sculpture for the CES Ampère, 210cm x 275cm x 275cm. (“1%”)
1972 – Farebersviller (Moselle). Cor-Ten steel structure for the lycée technique d’état, 2.5m x 4m. (“1%”) – Herblay (Val d’Oise). Black-painted steel sculpture for CES Jean Villar, 4m x 6m. (“1%”)
1973 – Camp militaire de Canjuers (Var). Cor-Ten structure from mat to colours, High 20m. State commission. – Embassy of France in Brasilia. 2 tapestries commissioned by the State and woven in the Goubely atelier, in Aubusson. Blue composition and grey composition 4 x 2.5m. – Colombes. Cor-Ten steel sculpture for the Louis Mourier hospital, 4m x 6m. – Briare (Loiret). Cor-Ten steel sculpture for the CET, 2.7m x 2.2m x 1.6m. (“1%”) – Vitry sur Seine – sculpture en acier corten, 1973 lycee technique Jean-Mace, rue Jules-Ferry
1974 – Angoulême. Cor-Ten steel sculpture for the CET Charles-Augustin Coulomb school. high 2.7m (“1%”) – Paris Porte de Clignancourt. Groupe Scolaire Maurice Utrillo. Cor-Ten sculpture, 4m x 4m x 3m. (“1%”) – Paris boulevard Kellermann, Garde Républicaine. Cor-Ten steel structure called “Navire Spatial” (Spaceship) 6 x 7m. State commission. – St Léonard (Eure & Loire) Cor-Ten steel sculpture for a private estate, 3 x 5m.
1975 – Palaiseau, Nouvelle Ecole Polytechnique. Cor-Ten steel structure, 7,5 x 4 x 4m. State commission. – Montferrand, Haute Garonne. Cor-Ten steel sculpture for Lycée A. Brugière, 1 x 2.5 x 6m. (“1%”) – Pierrelate, Drome. Cor-Ten steel sculpture for the Lycée Technique, 1.9 x 1.7 x 4m (“1%”) – Musée d’Art Moderne de la Ville de Paris. Homage to the United States of the world (Oak Sculpture)
1976 – Bourg St Andéol. White cement sculpture for the CES, 2m x 4m (“1%” State commission)
1977 – Mulhouse. Cor-Ten steel sculpture for EME 10 meters high (“1%”) – Münster, Germany. Cor-Ten steel sculpture. Purchased by the city for the Pascal Gymnasium. 1.5 x 1.4 x 2.9m
1978 – Nancy, Faculté de Médecine. Cor-Ten steel sculpture “Homage to the sciences”, 9.5m. – Paris, CHU Villemin – Lariboisière. Cor-Ten sculpture, 1 x 2 x 2.7m. (“1%”) – Paris 74014, Ecole maternelle 3bis rue d’Alesia. Cor-Ten steel sculpture, 1.1 x 2 x 2.6m. (“1%”)
1979 – Münchengladbach, Ruhr, Germany. 1st prize in the city competition. Steel sculpture for the high school, 4 x 5 x 10m. – Clermond Ferrand. Ecole de la gendarmerie nationale. “liberty” sculpture made of carbon steel (date to be verified)
1980 – Falck, Moselle. Cor-Ten steel sculpture for the CES, 1.7 x 1.9m. (“1%”) – L’OREAL factory. Cor-Ten steel sculpture (date to be verified)
1981 – Université de Reims. Cor-Ten steel sculpture, 4.5 x 4.6 x 10m. (“1%”) – Clermont Ferrand. Cor-Ten steel sculpture, 10m long. (date to be verified)
1982 – Le Havre. “eclipse ” Cor-Ten steel sculpture for the SCIC group d’ HLM (public housing). 1.6 x 4 x 4.5m – Troyes. Cor-Ten steel structure (“1%”)( date to be verified)
1983 – Paris, Musée du plein air, quai St Bernard. Cor-Ten steel structure, 2m.
1986 – Finanzbauamt Saarbrücken, Germany. Cor-Ten steel structure called “navire dans l’espace” for the ministry of finance. 1st prize in the city competition
1987 – Museum of Modern Art of Saarbrücken. Saarland Museum. Cor-Ten steel structure. 2.5 x 1.5 x 2.4 m
1989-1991 – Fontenay sous bois, place Charles de Gaulle. Cor-Ten steel structure “Liberty” 21m high. City budget. The drawings are on display at the Val de Marne Museum (MAC/VAL) in Ivry.
How To Be Ready To Transition Into A Full-Time Art Career
Making a Living as an Artist: Considerations for Going Full-Time
Making a living as an artist isn’t for everyone.
Alyson Stanfield
Something (not necessarily good) happens internally when you begin to think of your art as a means to pay the bills rather than an enjoyable activity.
It takes more than passion to be a full-time artist. When you’re putting your work out there for all to see—AND asking for money for it—you feel exposed. Vulnerable.
Not everyone can handle this. Not everyone wants to handle it. Not everyone should handle it.
Lori Sokoluk with her work at her Deer Lake solo exhibition. Photo courtesy of Jeremy Klassen, JCK Studios.
It’s also a lot to ask of your art to make money for you. You might be tempted to make work for the market, which, IMHO is driving the nail into creativity’s coffin. Don’t. Do. That.
But when things are looking up for you and sales and opportunities are rolling in, you can begin to think about making a living with your art.
You’ll never know if it’s the right decision to take the leap toward making a living as an artist. There are no guarantees in life or business. You have to trust that it’s right for you and have faith that you will do what is required to make it work.
You won’t wait for the perfect time to make this big move because you realize there is no such thing. If you don’t take action now, you’ll regret it later. If you don’t take action now, you won’t be any closer to the dreams you have for your life.
Once the decision is made … once you decide to move forward with a full-blown art business … I encourage you to embrace your ambitions. Own them.
Don’t be embarrassed to admit that you want more for yourself and for your art. Remember that your business and career are choices you have made to be in charge of your life.
There is no reason to postpone your plan. NOW is exactly the right time to begin building your art business.
In this article, I’m going to walk you through considerations for turning your hobby or passion into a full-time art business. Let’s start with the most important.
Your first step is to make a cohesive body of work.
Too many artists are marketing their art prematurely. It’s so easy to share something on social media, but much harder to do the difficult work in the studio. And you absolutely must be devoted to the latter.
When you share your art prematurely, you haven’t taken the time to develop as an artist. If this is you, take a deep breath and remember that, above all, you must make art in order to call yourself an artist. Your studio practice is your #1 priority. Always.
If you’re not making art, you have nothing to share with the world. If you have no art, you have nothing to sell. Without the art, you are not an artist.
June Kellogg’s exhibition at the Memorial Library.
The definition of a body of work varies from artist to artist. For one artist, a body of work might be defined by size. For another artist, it might be color, media, or subject matter.
I can’t give you a precise number of pieces that are within a body of work. I can’t even give you a number on average.
The emerging artist is most concerned with producing a body of work defined by a recognizable style. This means that the emerging artist is looking for quantity as well as quality. A few pieces by a new artist won’t convince the art establishment of your capabilities. You need enough for a solid exhibition.
You’ll be rewarded when you focus your creative energy on creating a body of work that you’re proud of. Only then will you have the confidence to put it out into the world. That brings me to my next point.
Your commitment will see you through the rough times.
Jan Clizer painting in her studio, working on a color study for the final painting in a series of commissions for Gamble Sands Golf Resort in Brewster, WA. Photo by Jessica Mackenzie.
Jan Clizer painting in her studio, working on a color study for the final painting in a series of commissions for Gamble Sands Golf Resort in Brewster, WA. Photo by Jessica Mackenzie.
There’s a romantic vision of living the artist’s life, toiling in the studio day after day. Covered with paint, glue, clay, or dust. Forgetting to eat because you were in flow. Staying up all hours because you were inspired. Committing to the wine, cheese, and crackers diet that comes with the circuit of art openings.
And then there is the reality—the part that just might suck. Working on deadlines. Sending another email invitation. Dealing with difficult personalities. Moving past the rejections.
The romance and the reality, and everything that comes with them, are expected when you’re trying to make a living as an artist. You must be committed to this extraordinary life that few are fortunate enough to experience.
How do you prepare? I wish I had wise words, but my modus operandi is to take off running and figure out the path along the way.
If someone told me that I had to have a written business plan before starting my business, I’d still be an unhappy museum employee.
You aren’t going to love everything about running a business. Get used to it. You have to keep your eye on the end goal. Find a way to be happy 90% of the time and you’ll excel. Which brings me to …
The professional artist is constantly seeking improvement.
When you are clear about your commitment, failure isn’t an option. You will keep going no matter what. So watch it with the self-talk.
Be aware of believing in self-imposed limitations. I’ve heard variations of the following from too many artists to count.
I am not a salesperson. I am not outgoing. I am terrible at marketing. I am bad at following up.
These are self-fulfilling prophecies. You can’t say, “I’m terrible at marketing” without being terrible at marketing.
Instead, opt for a growth mindset, which simply means that you’re not limiting yourself with negative believes. You’re on the improvement train.
I get a kick out of sharing my art with others. I enjoy meeting interesting people. I follow up on opportunities that are important to me.
Being with like-minded professional artists is essential for your growth.
I’ve been working with artists long enough to know that those who are part of a vibrant artist community will advance faster than artists who aren’t. In the right artist group, you will hear about opportunities you never knew existed, learn skills, pick up the latest tips and tricks, and gain confidence in your abilities as a businessperson.
Finding your people is one of the most impactful steps you can take for business growth, which is why one of my first recommendations to beginner artists is that they become involved in an artist group or organization, even if they have to start it themselves.
I also know that it’s easy to get stuck in the wrong group of artists–artists who don’t have similar goals to yours. This is a terrible waste of your time and can only end in frustration. Take the time to find a good fit for you and don’t discount online communities like my Art Biz Connection.
Aim for profitability when you want to make a living as an artist.
Trudy Rice prepares for her open studio in Port Melbourne, Victoria, Australia.
As a full-time artist, you need to figure out where the money is going to come from.
What, exactly, will you sell? Can you produce enough work to have a solo exhibition or build an impressive website? Can you make enough art that, if it sells, you will reach your income goal? Do the math.
Staring down numbers on spreadsheets isn’t for the faint of heart. It takes real commitment to understand how you will make enough money to pay the bills, save, and invest.
Most artists need more than one income source. There’s no shame in teaching, consulting, or selling products.
You must think like an entrepreneur if you want to make a profit. While it’s tempting to offer a bunch of low-priced items for sale, it doesn’t always make sense. Again, do the math.
You’ll discover that it takes just as much marketing effort to sell a $150 reproduction as it does to sell a $1500 original. Where will you spend your energy?
Seek increasingly prestigious (and lucrative) venues for showing and selling your art.
Promoting and selling your art online is fine, but exhibiting live is critical for your professional growth. Nothing can replace the viewer’s experience of seeing your art in person, and nothing can replace your satisfaction from bringing the work together in a single venue.
As you begin to concentrate more on reliable income, you need to be sure your venues can sell at the price point you want.
When you have dreams and goals, it helps to remember that your art career is a journey with phases. The steps you take in the beginning are different from those when you are more established.
Margaret Biggs next to her art festival tent.
Most of my students and clients start out with a keen desire to gain gallery representation. Some want representation because they believe galleries can sell the work better, but most seek representation because of the validation that comes with a gallery wanting to show your work.
If this is you, please educate yourself before starting on this path. A lot of work goes into a career and a lot of dues must be paid before an artist earns gallery representation.
Above all, make sure you are ready for a gallery.
The good news is that commercial galleries are not the only place for showing and selling your art. In fact, a very small percentage of artists will ever show their art in fine galleries.
There are so many ways to show and sell your art today.
Depending on the type of work you make, you might consider working with art consultants, interior designers, or entering public art competitions. You might also enjoy accepting commissions from clients who want a custom piece of art for a specific spot in their home or memory.
The possibilities are limited only by your imagination and, perhaps, your ego.
Polish your time management skills.
Many artists bristle at the thought of being confined by a clock or calendar. After all, freedom is, presumably, one reason you have chosen the artist’s life.
You can be as free as you want in your studio, but once you decide you want to be part of the art game … once you decide that you want to make a living as an artist … you and you alone are responsible for your success.
People depend on you to follow through and meet your deadlines.
As an artist, you’re blessed with an abundance of ideas. But that blessing can sometimes feel like a burden.
How do you know which ideas are right for you at this time? And which are the best use of your time?
Kristin Link working in her yurt studio. Photo courtesy of Greg Runyan.
You must enact boundaries around your time and energy. Even more importantly, you must adhere to those boundaries. If you don’t respect them, nobody else will. More demands will come as your success increases. You might as well put these limitations in place from the get-go.
In addition to setting boundaries with your time and with other people, you need to learn to manage yourself. I know I encouraged you to polish your time-management skills, but, in truth, you can’t manage time. You can only manage yourself, so let’s call it what it is and hone your self-management skills.
As you become more successful, you’ll be offered more opportunities. Some of these will be a perfect fit and others not so much.
You’ll also be asked to serve in leadership roles. Again, some may be like Little Red Riding Hood’s third attempts, Just right!, and others more like time sucks.
You can’t say Yes to everything and have a successful art career. You have to learn to say No without feeling guilty about it. This is some tough self-love, and absolutely necessary when you are the CEO of a profitable art business. (Or when you want to be the CEO of a profitable art business.)
When you say Yes to everything, you end up saying No to your most important goals. Productivity isn’t about doing more. It’s about prioritizing the opportunities and working on your highest value tasks and projects. Focusing on what’s most important sends the message to others to take you seriously.
Remember, you are depending on you to make a living. Don’t let yourself down.
A wise use of your time is to ..
Invest energy into business planning.
It’s easier than ever to find yourself caught up in responding to emails, scrolling through social media posts, and clicking on random links that have nothing to do with how you want to show up in the world. Before you know it, the days have flown by and the list of things you want to accomplish isn’t shrinking.
You must spend a good amount of time working on your business rather than staying busy in your business. Busy does not equal productive. I’m sure I don’t have to tell you that.
We’ve already established that, as a creative soul, you have tons of ideas. When all of those ideas are floating around your head they begin to bump into one another. Each one has a voice: Try me! Work on me! Pssst … over here! Why are you ignoring me? They can be pesky, demanding, and loud. You either begin to feel overwhelmed by their insistence or ignore them and do nothing.
The only solution is to create a structure for your ideas. Get them out of your head and into a plan before they drive you nuts. And before they disappear forever.
Make a plan for your exhibition.
Make a plan for having a sale.
Make a plan for turning your collectors into a sales force.
There’s a plan for everything!
Find a way to enjoy marketing.
Making a living as an artist doesn’t mean that you’re able to make art all of the time. Au contraire! Earlier in this article I broke the news that you’re going to have to face some tasks you don’t enjoy doing.
The more successful you are, the more time you’ll be spending on the business side rather than in the studio. This will include coordinating calendars, organizing shipments, welcoming studio visits from curators, and meeting deadlines. It might also mean managing team members. It most certainly means more marketing.
Marketing is everything you do to gain recognition and sell your art. It’s something you will need to be consistent with because inconsistent marketing leads to erratic results.
You’ll never hear me refer to your marketing as a campaign because that implies there is a beginning and an end. You can’t be reaching out and looking for connections only when you feel like it.
Some of your marketing will be in person. You will be expected to show up for your galleries and for other artists because a huge part of the life of a successful artist is being seen.
Because you will have so many responsibilities and opportunities calling for your attention, it’s more important than ever to create lasting habits and routines. Consider a weekly self-promotion routine to keep you on track.
There are all kinds of ways you can spend your time, energy and money. As you focus on a profitable art business, you have to be selective. Where is it most likely you’ll find your audience?
You can do this.
What I’ve shared above is a laundry list of considerations for making a living as an artist. If I had to boil it down to 1 thing, I’d encourage you to focus on …
Commitment
When the commitment is there, you can figure out the rest. When you’re committed to your art and your goal, nothing will stand in your way. You will persevere.
Yes, you have plenty of work ahead of you, but what’s the alternative? To not go after your dream? To be complacent with the status quo? To live a life of regret?
None of these are acceptable.
Your art is not just how you express yourself. It’s how you communicate with the world. When you keep it to yourself, you are not doing justice to the art. Nor will you ever be fulfilled.
Palm Beach Modern + Contemporary (PBM+C), presented by Art Miami, returns for its sixth edition opening with an exclusive invitation-only VIP Preview benefiting the Ann Norton Sculpture Gardens on Thursday, March 23 and running through Sunday, March 26, 2023 at the Palm Beach County Convention Center.
The most important contemporary art fair of the winter season, PBM+C brings together world-class investment quality art presented by an internationally acclaimed group of galleries.
PBM+C will coincide with the world-renowned Palm Beach International Boat Show, located along the waterfront and Flagler Drive in Downtown West Palm Beach, FL. The show will feature more than $1.2 billion worth of yachts and accessories, including hundreds of boats ranging from 8-foot inflatables to super yachts nearly 200 feet in length.
Fair Information
FAIR HOURSThursday, March 23, 2023 VIP Preview: 5pm – 9pm Access for PBM+C VIP Cardholders & Press, benefiting the Ann Norton Sculpture Gardens
GENERAL ADMISSION Friday, March 24 11am – 7pm Saturday, March 25 11am – 7pm Sunday, March 26 11am – 6pm
LOCATION PALM BEACH COUNTY CONVENTION CENTER 650 Okeechobee Blvd, West Palm Beach, FL 33401
Artists
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Metis Atash Henrik Abedian Craig Alan Doug Aitken Ansel Adams Julian Voss Andreae Milton Avery Jean Arp Karel Appel Arman Elise Ansel Hamilton Aguiar Belkis Ayón Flo Arnold Magdalena Abakanowicz Frank Auerbach Alice Aycock Derrick Adams Clive Arrowsmith Deborah Azzopardi Eric Alfaro ARNAUD Ben Abounassif Pablo Atchugarry B
Stanley Boxer Fernando Botero Mel Bochner Rafael Barrios Jeff BERTONCINO Andy Burgess Tom Brzon Harry BENSON Mr. Brainwash Hanneke Beaumont Moreno Bondi Maria Bogacheva Kevin Barrett Bill Barrett Guy Boudro Kim Boulukos Andrew Blauschild Banksy José Bedia Francis Bacon Claudio Bravo David Babatunde Olatoye François Bel Dominic Besner Miss Bugs Alex Bernstein Magaly Barnola-Otaola Arturo Berned Giacinto Bosco Być Harry Bertoia Nicola Bolla Lisa Bartleson Jean-Michel Basquiat Carlos Bruscianelli Ghazi Baker Gisele Borras Michelangelo Bastiani Stefano Bombardieri C
Mads Christensen Dan Christensen Gianfranco Chiavacci Richard Caldicott Lita Cabellut Tarik Currimbhoy STEPHANE CIPRE James Coignard George Charriez Nick Cave Lynn Chadwick Canal Cheong-Jagerroos Nathan Coe Lo Ch’ing Li Chevalier Mario Carreño Agustín Cárdenas Humberto Calzada Andrew Cotton Wei Ting Chen Spiller + Cameron Elias Crespin Robin Cerutti Patrizia Casagranda Andre Paul Croteau Philip Colbert Marc Chagall Umberto Ciceri Kwang Young Chun Sung Hee Cho Carolus Chance Cooper Alexander Calder Carlos Cruz-Diez Chaouki Chamoun Carlos Cruz Diez D
Sophie Delaporte Nathalie DESHAIRS Juan Roberto Diago Sandro De La Rosa David Drebin Mark De Muro David Datuna Alexander Dedov Julia Dogan Guy Dill Deon Duncan Ruth Avra & Dana Kleinman Carla D Amato Wang Dongling Carl Dahl Gabriel Delgado Willem de Kooning Marina Dunbar Rachel Daly Hugo Diaz Adriana Dorta Leo Di Tomaso Ian Davenport Jim Dine Brian Duffy Robert Doisneau Peter Demetz Caroline Dechamby Simone D’Auria Michel Desroches Dirk De Keyzer E
Giosvany Echevarría Gregg Emery Arthur Elgort Elliott Erwitt F
François Franta Monique FRYDMAN Holly Farell Miguel Florido Roberto Fabelo William Finlayson Eric Fischl Sam Francis Marta Fabreras Tommaso Fattovich Qin Feng Augustín Fernández Flora Fong Eric Forstmann Sarah Fairchild Perle Fine Alexandre Frangioni Estella Fransbergen Pietro & Riccardo Ferro Roberto Ferri Marta Fabregas Jessica Feldman Perez Flores G
Max Steven Grossman Sylvestre Gauvrit Juan Garaïzabal Lilian García-Roig John Gibson Irina Elén González Víctor Manuel García J.P. Goncalves Elizabeth Gregory-Gruen Max-Steven Grossman Marco Grassi Paul Gauguin Igor Galanin Ignacio Gana Jörg Gessner Juan Genovés Red Grooms Julio González Jacob GILS Cristina Ghetti Ormond Gigli Don Gummer Vincent Giarrano H
Thomas Hartmann Karl Martin Holzhäuser Vicente Hernández Damien Hirst Roderick Hidalgo Secundino Hernandez Hans Hofmann Jefferson Hayman Elwood Howell Maggi Hambling Harold Hermann Patrick Hughes Jonathan Hammer Robert Harms Patrick Hurst David Hockney Brad Howe Sup Ham Frank Horvat Horst P. Horst Amy Hughes Alfred Haberpointner Jaime Hayon Keith Haring Philippe Hiquily Yves Hayat I
Robert Indiana Ignacio Iturria Ipousteguy J
Taher Jaoui Christo Javacheff Mercedes Jelinek Yao Jui-chung Jennifer JL Jones Antoine Josse Heather Jones Dion Johnson Nathan Slate Joseph Alison Jackson Henry G. Jackson Anthony James Jasper Johns Jisbar K
Victoria Kovalenchikova Alex Katz William John Kennedy Denis Kulikov Kiseok Kim Benita Koch-Otte Ted Kincaid Deborah Kass Luis Kaiulani Chun Kwang Young Oleg Kedria Amy Kirchner Wolf Kahn Mark S. Kornbluth Juraj Kollar Kaws Ilhwa Kim Bumin Kim Yong R. Kwon Douglas Kirkland William Klein Giggs Kgole Ellsworth Kelly Alexandra Karram Alois Kronschlaeger
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ELKA LEONARD Mira Lehr Pancho Luna Julio Larraz Malcolm T. LIEPKE JACQUES LEBESCOND Tim Liddy Jacques Lebscond Wifredo Lam Isaac Levy Sol LeWitt Ivan Loboguerrero Peter Wayne Lewis Roy Lichtenstein Fernand Leger Wei Ligang Alberto Letamendi Kurt Lightner Fay Lansner Miriam Londoño Kadir López Jonas Leriche Robert Longo Hoo Chang Lee Jim Lee Massimo Listri Neil Leifer Jean-Daniel Lorieux Karen Lynn Amy Laskin Julio Le Parc Antoine Leclercq M
Jane Manus Donald Martiny James Austin Murray Javier Marin Magdalena Murua Koichi Matsufuji Tom Marosz Carlos Mata Catherine McCarthy Danuel Méndez Manuel Mendive José Mijares Christina Major Mirtha Moreno Joan Miró Caterina Mejia Henry Moore Robert Motherwell Henri Matisse Vik Muniz Norman Mooney Tania Marmolejo Andersson Robert Mangold Gino Miles Billy Monsalve Duffo Veronica Matiz Brendan Murphy MARCK Menschenuhr Melissa Meyer Xavier Mascaro Jason Martin Peter McLennan Fabio Mesa Zammy Migdal Paolo Medici Raffaele Minotto Carlos Medina Oscar Murillo Chizuru Morii Kaplan Camilla Mathlein Cheryl Maeder Hussein Madi Jose Margulis Molybdene Roberto Matta Roger Moukarzel Takashi Murakami John Macwhinnie David & Peter McDermott & McGough N
Udo Noger Louise Nevelson Kenneth Noland Kiyoshi Nakagami William Nelson Jedd Novatt Mattia Novello Kira Nam Greene Helmut Newton Francisco Narváez Edgar Negret Carmelo Niño O
Jules Olitski Francis Olschafskie Terry O’Neill Felipe Orlando Michele Oka Doner Tom Otterness Paul Oxborough Ruth Orkin Julian Opie P
Simon Procter John Petrey Madonna Philiips Gé. PELLINI Gina Pellón René Portocarrero Charles Patrick Pezhman
Guy Stanley Philoche
Alessandro Puccinelli
Fidelio Ponce de León
Irving Penn
Nicole Pietrantoni
Pablo Picasso
Tom Porta
Fabiano Parisi
Richard Prince
Jimmy Paintz
Jamie Pettis
Linda Pochesci
Bob Peckar
Dario Perez Flores
Pollès
Alirio Palacios
Fairfield Porter
William Quigley R
Georges Rousse Cha Jong Rye Klari Reis Janet Rickus James Rosenquist Ed Ruscha Monique Rollins Ola Rondiak Brandon Reese Sara Rayo Robert Rauschenberg Jean-Paul Riopelle Rosenthal Jim Rennert Cristina Rodrigues Alejandro Rauhut Larry Rivers Mariano Rodríguez Domingo Ravenet Teodoro Ramos Blanco Demi Rodríguez Marlene Rose Jim Ritchie Milly Ristvedt Stef Ross Tal R Jorge Riveros Sidney Russell S
Hunt Slonem Marleen Sleeuwits David Spiller Larisa Safaryan Le Thanh Son Jason Hallman and Stephen Stum Stallman Tomás Sánchez Daniele Sigalot Maria Svarbova Donald Sultan Alina Shimova Richard Serra Frank Stella Shun Sudo Richard Saja Bjorn Skaarup Tyler Shields Billy Sullivan Rafael Soriano Jorge Luis Santos Srinjoy David Salle Steven Spazuk Laura Sanders James Sagui Joachim Schmeisser Stephan SCHNEDLER Christopher Schulz Wuilfredo Soto Alison Saar Kenny Scharf Oscar Saborio Jeong Min Suh Lawrence Schiller Melvin Sokolsky Norman Seeff Antonio Sannino Matt Smith Nicolas Saint Grégoire Sandra Shashou Zach Smithey Bosco Sodi Jesús Soto Robert Stone Toland Sand Mathias Schmied Rek Santiago Shawn Smith Soto Wolfgang Stiller Anton Smit T
Tigran Tsitoghdzyan Cecil Touchon Cristóbal Toral Gary Traczyk Alexi Torres Cuchi Taborda John Thompson Mickalene Thomas Punk Me Tender Bill Thompson Louis Tomasello John Torreano U
Federico Uribe Michele Utley-Voigt V
Boaz Vaadia Manolo Valdés Isabelle van Zeijl Christian Verginer John Van Alstine Manolo Valdes Tanya Vasilenko Ben Vanderick Ventura-Olavarria Diana Vurnbrand Carlos Vega-Faúndez Victor Vasarely Oswaldo Vigas Gregorio Vardanega Marianna Villafane Víctor Valera W
Andy Warhol Jens-Christian Wittig John Wesley Gregory Watin Tom Wesselmann Dean West Stephanie Wilde Sir Daniel K. Winn Julian Wild Felton Weller Audra Weaser Carlyle Lee Wolfe Albert Watson Neill Wright Rodney Weiss Y
Mayuka Yamamoto Yang Yanping David Yarrow Russell Young Kyung Youl Yoon Seo Young Deok Betty Yaghi Z
Guan Zhi Almond Zigmund Alice Zanin ZMK Francisco Zuniga Julia Zanes
El Grupo Trance se presentará en Real Café el viernes 1 de julio
Trance se presentará nuevamente en este prestigioso club de música, Real Café. La entrada y el estacionamiento serán libres. La banda pertenece a la historia del rock de Miami y es liderada por el bajista, cantante y compositor cubano Ernesto Seijas. Trance fusiona rock con pop en inglés y algo de música cubana. Ahora viene de un paréntesis de varios años, pero planea realizar varios conciertos y lanzar un disco a mediados de año. Trance toca temas propios y también covers de The Beatles. INXS, Doobie Brothers y Eric Clapton, entre otros. La escena rockera de Miami recibe con los brazos abiertos el comienzo de una nueva etapa del prestigioso grupo Trance. “Queremos que este sea un regreso definitivo, estamos muy entusiasmados y tenemos grandes planes”, asegura el líder de la banda, Ernesto Seijas, bajista, cantante y compositor. El repertorio de Trance se integra de temas propios como “Herencia” y “Juventud”, de nueva cosecha; y clásicos del grupo como “Tú eres candela” y “Mi caramelo”. Además, ejecutan covers del rock y el pop. “En todo lo que hacemos anhelamos transmitir energía positiva a la gente, que se divierta, la pase bien”, apunta Seijas, nacido en Cuba, al igual que sus compañeros. Trance también está compuesto por Edwin Fernández, co-fundador del grupo, en la percusión y voces; Elvis García, en batería y voces; Ario León, en la guitarra; Bernardo Iglesias, en piano y teclados; Ariam León, voces; y Rey Seijas, guitarra y voz. El origen de Trance se remonta a La Habana de los años ‘80, donde un adolescente Ernesto Seijas comenzaba su fascinación por Los Cuatro de Liverpool y otras estrellas. También disfrutaba de la música tropical de Beny Moré, y Los Van Van, entre otros. Esta variedad de gustos se nota en Trance, donde se mezclan sonidos de manera desprejuiciada. “El grupo suena super bien, parte del rock, pero tiene mucha fusión”, analiza Fernández, que inició Trance con Seijas exactamente en 1998. Concretamente Trance ha permanecido en actividad entre 1998 y 2003; durante 2005; luego, en 2008. En su carrera ha lanzado un disco: “Trance”.
Su significado es «La escuela de las cosas» y tiene sus orígenes en Tokio a mediados de 1960. En vez de obras tradicionales, los artistas del Mono-Ha hacían uso de diferentes materiales en sus obras para mostrar su desánimo con la industrialización que estaba teniendo lugar en Japón en aquella época. El movimiento acabó obteniendo atención internacional y es una forma de arte muy respetada.
Mono-ha (も の 派) es el nombre que se le da a un movimiento artístico liderado por artistas japoneses y coreanos del siglo XX. Los artistas de Mono-ha exploraron el encuentro entre materiales naturales e industriales, como piedra, planchas de acero, vidrio, bombillas, algodón, esponja, papel, madera, alambre, cuerda, cuero, aceite y agua, ordenándolos en su mayoría inalterados. , estados efímeros. Las obras se centran tanto en la interdependencia de estos diversos elementos y el espacio circundante como en los propios materiales.
Origen del término “Mono-ha” y sus miembros
“Mono-ha” generalmente se traduce de manera literal, como “Escuela de cosas”. Los artistas de Mono-ha afirman regularmente que “Mono-ha” fue un término acuñado con desdén por los críticos (específicamente Teruo Fujieda y Toshiaki Minemura en la revista Bijutsu Techo en 1973) mucho después de haber comenzado a exhibir su trabajo, y no comenzaron como un colectivo organizado. Los escritos y las conversaciones de los artistas se publicaron antes de que los críticos acuñaran el término, incluido el artículo fundamental de Lee “Mundo y estructura: colapso del objeto [Pensamientos sobre el arte contemporáneo]” en 1969 y la mesa redonda de artistas dignos de mención “Voces de artistas emergentes: del reino del no arte ” publicado en 1970. Muchos de los artistas de Mono-ha se exhibieron por primera vez en las galerías Tamura y Maki en Tokio, propiedad de Nobuo (Shinro) Yamagiishi, quien también era escritor de arte y cuyos archivos se encuentran en la colección del Centro Nacional de Arte de Tokio .
Toshiaki Minemura explica en su ensayo de 1986 “¿Qué fue Mono-ha?” Que, en términos de su formación académica e intercambio intelectual, los artistas de Mono-ha se dividen en tres grupos:
“La conexión Lee + Tamabi “. Esto incluye a Nobuo Sekine , Kishio Suga , Shingo Honda, Katsuhiko Narita y Katsurō Yoshida en el departamento de pintura, y Susumu Koshimizu en el departamento de escultura en Tama Art University (también conocido como Tamabi), así como Jiro Takamatsu y Lee Ufan , un artista coreano que es un amigo cercano de Sekine.
“The Geidai Connection “, un grupo de artistas en torno a Kōji Enokura y Noboru Takayama, ambos graduados de la Universidad de las Artes de Tokio (también conocida como Geidai), y Hiroshi Fujii y Makoto Habu, que más tarde participaron en Mono-ha.
“The Nichidai Connection”, estudiantes del Departamento de Bellas Artes de la Universidad de Nihon (también conocido como Nichidai), cuya figura central era Noriyuki Haraguchi, también conocido como el “Grupo Yokosuka”, debido a la crianza de Haraguchi en Yokosuka y su crítica de la presencia militar local de EE. UU. a través de su trabajo.
Contexto sociopolítico
Mono-ha surgió en respuesta a una serie de precedentes sociales, culturales y políticos establecidos en la década de 1960. Con la excepción de Lee Ufan, que era una década mayor, la mayoría de los artistas de Mono-ha apenas comenzaban sus carreras cuando ocurrieron las violentas protestas estudiantiles de 1968-1969.
Al mismo tiempo, hubo muchas protestas contra la segunda extensión del Tratado de Seguridad entre Estados Unidos y Japón (conocido en japonés abreviado como Anpo ) en 1970, obligando a Japón a brindar apoyo logístico para la guerra de Estados Unidos en Vietnam. Unido a las demandas de reversión de Okinawa en 1972 y la retirada de las armas nucleares con base allí, el clima de protesta durante este período fue sintomático de una creciente desconfianza en las intenciones de Estados Unidos hacia Asia y su posición dominante en la relación bilateral con Japón. . El activismo de la ” generación Anpo ” dio lugar a una contracultura altamente intelectual que era a la vez crítica del ” imperialismo ” estadounidense y muy consciente de su identidad japonesa.
Los artistas de Mono-ha típicamente niegan involucrarse con movimientos activistas estudiantiles en ese momento, aunque se cree que el clima político tenso influyó en su trabajo, lo que les permitió lidiar y dar sentido a su malestar y desilusión con la modernidad de posguerra en sus diferentes formas.
Atención reciente en los Estados Unidos
En 2012, la galería Blum & Poe introdujo el arte de Mono-ha en los EE. UU. Con la exposición de encuestas “Requiem for the Sun: El arte de Mono-ha”, comisariada por Mika Yoshitake . La galería también ha realizado exposiciones individuales de Lee Ufan , Kishio Suga , Susumu Koshimizu , Koji Enokura y Nobuo Sekine .
Fase-Madre Tierra
La Phase-Mother Earth de Nobuo Sekine se considera el trabajo inicial del movimiento Mono-ha. Creado originalmente en el parque Suma Rikyu en Kobe , y sin permiso oficial. La obra fue recreada en 2008 y 2012. Se trataba de una gran torre cilíndrica de tierra compactada, que se extraía de un agujero cilíndrico de la misma forma.
Miembros
Jiro Takamatsu
Nobuo Sekine
Lee Ufan
Kishio Suga
Koji Enokura
Susumu Koshimizu
Noboru Takayama
Katsuhiko Narita
Noriyuki Haraguchi
Katsuro Yoshida
Kenji Inumaki
Shingo Honda
Keiji Uematsu
Mono-Ha es el nombre comúnmente atribuido a una corriente artística, y al grupo de sus miembros, que operó en Japón entre finales de los años sesenta y principios de los setenta. Aunque radicalmente diferente, y diversa, entre ellas, la obra de cada artista De La Mono – Ha, comparte algunas características comunes, tales como: el uso de materiales naturales, la asimilación de ciertos aspectos de Occidente, el desafío al concepto tradicional de arte.
El uso de materiales simples, tanto naturales como manipulados (preferiblemente de tal manera que creen formas orgánicas), es un aspecto fundamental y unificador de los diversos exponentes del movimiento: se prefiere la planta, las telas, las rocas, la madera, el papel, las cuerdas, las sustancias de vidrio y, en la mentalidad del artista, se convierten en los medios que empujan a reconsiderar bajo una visión diferente de la relación entre el arte, el hombre y materia y realidad El término Mono-Ha, acuñado por los miembros del grupo artístico, traducido del japonés al italiano significa “la escuela de las cosas” . Emergiendo como una expresión de la vanguardia del arte japonés a finales del siglo XX, el interés de la Mono-Ha es buscar y revelar la realidad más allá de la apariencia: el conceptualismo de la Mono – Ha, entonces, no es estéril o fin en sí mismo, sino que se convierte en la ocasión de la revelación y expresión del vacío : un objeto, una obra nunca es diferente del espacio que lo ocupa, sin embargo, coincide con él. Ambos, por otro lado, contribuyen a crear el significado: devenir, de nacimiento o de disolución. Por lo tanto, es importante el aspecto dinámico y la transformación, la cambiabilidad impermanente de las cosas y, por extensión, de la realidad. La seriedad de estos principios es demostrada por los artistas Mono – Ha: sus obras, su naturaleza efímera, no se prestan al contexto de colecciones o museos (nadie posee uno). El rechazo de la perfección, de lo definitivo, de lo realizado, es, por tanto, total. El gesto creativo es aún más fundamental que el trabajo. La conexión de las obras con el lugar donde nacen, y su carácter efímero, a menudo causa problemas logísticos, si no incluso de especificidad con el lugar donde nacen. La primera exposición de Mono-Ha se celebró en 1969: bastante raro el siguiente, algunos de los cuales se llevaron a cabo en Francia, Italia y la U. S.A.
MONO-HA. Se lleva a cabo a finales de los sesenta e inicios de los setenta. Es un movimiento artístico contemporáneo japonés que se centra en las relaciones entre los materiales y las percepciones más que la expresión o la intervención. Trabajan sus obras con materias primas, materiales simples y naturales que apenas manipulan. Uno de los artistas más importantes de este movimiento es Lee Ufan. Comparte características del movimiento Land Art, Fluxus y el arte conceptual. Su objetivo era simple, hacer “cosas” juntos en la medida de lo posible en su estado natural. Algunos expositores de este movimiento son: Nobuo Sekine, Ufan Lee, Yoshida Katsuro, Koshimizu Susumu, Enokura Koji, Suga Kishio, Takayama Noboru y Narita Katsuhiko.
SUPPORT SURFACE. En 1970 por Vincent Bioulès. Es un movimiento pictórico que surge en Francia alrededor del 1966, dedicado a la pintura y la escultura. Este término fue propuesto por Vicent Bioulès. Otro nombre por el que se conoce es Nuevo Reduccionismo. Algunos expositores de este movimiento: François Rouan, Marc Devade, Louis cane, André Valansi, Claude Viallat y Vicent Bioulès.
NEO DAD. Surge a finales de los años 50 y principios de los 60. Es un movimiento que surge como reacción al arte del expresionismo abstracto, creando un arte opuesto a este, aunque sin ser frío y despersonalizado, continua con los principios del surrealismo, pero llevados a otra escala, a otro nivel y lenguaje artístico. Continúa los principios del surrealismo, pero llevados a otra escala. El movimiento neo dadaísta innova con otros materiales. La temática es extraída del medio ambiente urbano de las grandes ciudades, de sus aspectos sociales y culturales: comics, revistas… Los artistas más representativos son Robert Rauschenberg y Jasper Johns.
JUNK ART. Surge en los años 50 como movimiento americano. con reacción al idealismo del Expresionismo Abstracto. Su pionero fue L. Alloway. Su interés por el objeto de consumo le convirtió en antesala del Por Art. Era similar al “arte basura”. Era similar al Collage L. Alloway. Algunos de los principales artistas del Junk Art. Son Chamberlain, Stankiewics, Di Suvero, Samaras, Dine, Oldenburg, César, Kaprow y Grooms.
