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Alette Simmons-Jiménez

Alette Simmons-Jimenez
In the studio with Alette Simmons-Jimenez.

Miami Visual Artist Studios

Alette Simmons-Jiménez

“I grew up like a nomad and felt uncomfortable staying anywhere too long. My very eclectic life made for very eclectic work.” Alette Simmons-Jiménez

Artist Studio:
345 NE 80th Street, No.236
Miami, FL 33138
Accessibility:
ADA Compliant
Free Street Parking

Born in Madison, Wisconsin – Lives and works in Miami, Florida

For questions, commissions or inquiries: hello(at)alettesimmonsjimenez(dot)com

Through my multimedia interdisciplinary practice, I explore the intricate relationship between nature, society, and the self. Works navigate current environmental concerns, borrowing form and imagery from both microscopic and panoramic views of the world and our universe.

My practice encompasses mixed-media collage, immersive installations, suspended sculptural forms, poetry, and video. The works I am presenting today can be described as constructed landscapes, blending playful and ominous visual imagery to convey a past, present, or future vision of life on Earth. The work exhibits layers of assembly, overlap, and erasure, blurring the division between image, object, and viewer.  My goal is to immerse viewers in a seductive experience that encourages a greater connection to our planet and a better understanding of our place in it.

Reflecting on my own ethnicity, subjects in my work appear as hybrid forms. Whether I’m working with the human body, animals, clouds, or trees, they are a marriage of contrasting parts. Form and image reference unsettled landscapes, embracing connections and contradictions,  expressing the fertile possibilities existing in-between.

BIO:

Alette Simmons-Jiménez is an American artist and cultural organizer, currently based in Miami.  Simmons-Jiménez explores landscape art, interpreting the human/nature connection.  Her work navigates current climatic concerns pushing at times into supernatural vistas of what a future Earth might portray through a rigorous, multifarious, art practice.  Her work combines mixed-media painting and collage, poetry, text, sculptural assemblage, installation, and video.  

Simmons-Jiménez received a BFA from Newcomb College in New Orleans, began her studio practice in the Dominican Republic and is now based in Miami.  She has exhibited extensively in museums, galleries, and media festivals internationally and has collaborated with designers and architects to install large-scale commissions in public and private spaces.  She has had solo exhibits at the Museum of Arts & Sciences (MOAS), Daytona Beach, the MOMA Santo Domingo, Palm Beach ICA Media Room with curator Michael Rush, Inter-American Development Bank Washington D.C. with curator Susana Leval, ArtCenter South Florida, Frances Wolfson Gallery at Miami-Dade College.  Notable institutions exhibiting her work in group exhibits have been at the Chelsea Museum New York, The Mobile Museum of Art, the US Dept. of State Art in Embassies Program (Riyadh & Tegucigalpa), Casa de la Cultura-Valencia (Spain), Musée du Luxembourg, Boca Raton Museum of Art, the Appleton Museum, the Lowe Museum, MOCA N. Miami, the Frost Museum at FIU, the Gulf Coast Museum of Art, the Museum of Art Ft. Lauderdale, and others.

She is a recipient of a prestigious Knight Arts Challenge Grant, a Florida Fellowship Grant, a Florida Artists Enhancement Grant, a Miami-Dade Tourism Development Grant, a Miami-Dade Community Grant.  The artist has been designated as the first woman to exhibit video installation art in the Dominican Republic and in 1992 she was awarded the 1st Prize in Video at the XVIII Biennial in the Dominican Republic. She is listed among the creatives that helped forge the South Florida art community in the definitive books ‘Miami Contemporary Artists’ published in 2007, and ‘100+ Degrees In The Shade: A Survey of South Florida Art’ published in 2015.

In 2017, she was awarded a Grant from Oolite Arts (ArtCenter South Florida) and the Es Baluard Museum of Contemporary Art in Palma de Mallorca as a Visiting Artist.  In 2019, she was invited to Essaouira, Morocco to participate at Résidence D’Artiste Ifitry, an isolated experimental workspace created to inspire and connect artists from around the world to the unique surroundings and to each other.  The artist is currently at work on upcoming solo exhibition at the Miami International Airport CameraWorks Gallery, and an immersive installation for the Florida Biennial held at the Hollywood, Florida, Arts & Cultural Center. 

Early in her career, the artist’s practice extended to professional collaborations dedicated to community building.  From 2004-2011, she founded and directed the artist-run collective Artformz Alternative with the goal to stimulate closer connections between artists and the public.  From 2013-2016, Simmons-Jiménez served on the BOD of ArtTable, Inc in New York and held the positions of Florida Chapter Chair and Programming Director.  Since 2018 she has hosted and produced Art & Company Podcast, a document of the growing South Florida art scene.

EDUCATION

BFA – Newcomb Memorial College, Tulane University, New Orleans – Studio Art: Painting/Sculpture

WORKSHOPS / RESIDENCIES

2019    Ifitry Residence D’Artistes, Maroc Premium Foundation, Invitational Residency, Essaouira, Morocco
2017    Les Clíniques, Exchange/Residency ACSF & Es Baluard Museum, Palma de Mallorca
2017    Oolite Arts (ArtCenter South FL) Eco-Aesthetics, Workshop/Blanca de la Torre (Spain), Miami
2014    Ft. Lauderdale Museum of Art, Master Painting Workshop/Julian Schnabel, Ft Lauderdale
2010    Whale & Star, Painting Theory Intensive/Enrique Martinez Celaya, Miami
2009    Creative Capital, NY, Advanced PDP, Miami-Dade Cultural Affairs, Miami
2008    The Studios Of Key West, Resident Artist, invitational, Key West

SELECTED SOLO SHOWS

2022    Wherever We Land…, Art in Public Places, MIAmi (Moving Image) @Miami International Airport
            A Crack in the Moon MOAS, Museum of Arts & Sciences, Daytona Beach
2020    Mono No Aware S|223 Miami Design District, director Tiffany Chestler, Miami
2018    Blue Fades To Brown Fades To Violet Oolite Arts (ArtCenter South FL) Walgreens Project, Miami Beach
2015    Shimmer  The Metropolitan, curators: Dania Rodriguez, Ernesto Cuesta, Miami
2010    3  Artformz, (with Randy Burman, Rosario Bond) Miami
            A Terrible Beauty  Artformz, (with Sibel Kocabasi) Miami
2008    Up, Down, Backward & Forward  The Studios of Key West, Key West
2007    Hanging By A Wire  Artformz Alternative, Design District, Miami
2006    Flux & Flow  Artformz Alternative, Design District, Miami
2004    New Installations  Artformz Alternative, Design District, Miami
2001    Walk-In #5  Frances Wolfson Gallery, Miami-Dade College, curator: Conrad Hamather, Miami
2000    Stop/Motion  Gallery/Inter-American Development Bank, curator: Susana Leval, Washington, D.C.
            Alette Simmons-Jimenez  Miami-Dade Cultural Resources Gallery, curator: Patricia Risso, Miami
            Order & Chaos  La Sinfonia de Bellas Artes, Key West
1999    The Figure: More Than You Have Ever Seen  Creative Resource, Birmingham, MI
            Worlds: Past & Present  The Americas Collection, Coral Gables
1997    Obras Reciente  Museo de Arte Moderno, Santo Domingo, Dom. Rep.
1996    Painting and Sculpture  The Americas Collection, Coral Gables
1991    Recent Work  Coral Snake Gallery, Miami Beach
1986    Alette Simmons-Jimenez  Museo de las Casas Reales, Santo Domingo, D.R.

SELECTED GROUP SHOWS

Art & Cultural Center, The Florida Biennial, The Rain Room, immersive experience, curator: Ylva Rouse, Hollywood, FL
HARTvest Project, Los Colores de Miami, sponsor: Consulate General & Cultural Institute of Mexico, Pinecrest Gardens, FL
Showfields, “Somewhere a Place” in the Inaugural Event, Immersive Art Experiences, Miami Beach 
Sagamore Art Hotel, “Rises & Falls” in “Everyone Has a Story to Tell”,  Art Week installations, Miami Beach
Arts Warehouse, “Suspended Spiral” participatory work in “Luminous” by C3 Curators Collective, Delray Beach
hARTvest Projects, “Home Sweet Home” women artist’s and the pandemic quarantine, curator: Carola Bravo, Miami
The Annex, “RCS 51-75 Exhibit” sponsors: Spinello Projects & The Fordistas, curated by BaBa Collective
Art & Cultural Center, “PLUSH” curator: Laura Marsh, Hollywood, FL
Prospect Park Alliance 150 Years, “Connective Project” Prospect Park, Brooklyn
DVCAI, 400 S. Point Gallery, Summer Show” curator: Rosie Gordon-Wallace, Miami Beach
Bailey Contemporary, “Re:Produce” curator: Lisa Rockford, Pompano Beach
Deering Estate, “Festival of the Arts: Intersections” curators: Kim Yantis & Ralph Provisero, Miami
Ritter Art Gallery, Florida Atlantic University, “Dirt” curator: Onajide Shabaka, Boca Raton
Center for Book Arts, “Sweat Broadsheet Collaboration” Curator: Alexander Campos, New York
Art in Embassies Program, US Dept. of State, “Ambassador’s Residence Exhibit” curator: Imtiaz Hafiz, Riyadh, Saudi Arabia
“100+ Degrees in the Shade” A Survey of South Florida Artists, various venues, Miami
FAU, Ritter Gallery, “Dirt: Yuta Suelo Udongo Tè” curator: Onajide Shabaka, Boca Raton
The Cornell Museum, “Artistically Speaking” Delray Beach
The Frost Museum, “Aesthetics & Values” FIU, Miami
MDC Museum of Art & Design, “Sweat Broadsheet Project” poets/visual arts, Miami
319 Scholes, “Understanding Media: The Extensions of Human Being” Bushwick, Brooklyn
(E)merge Art Fair, vetted artist platform, Washington, DC
Brenda Taylor Gallery, “Group Show” Chelsea, New York
The Studios of Key West Sculpture Garden, “Understory” curator: Anja Marais, Key West
The Mordes Collection, “Outside the Box” curator: Sibel Kocabasi, W. Palm Beach
Miami Design District, “Artist Invites Artist, Common Ground” Spain/USA, Miami
Carrie Secrist Gallery, “Holes” curator: Stevie Greco, Chicago
Pulse Fair Miami, “Small Wonderz (Art) Salon” Art Center South Florida, Wynwood, Miami
Wynwood Art Fair, “Small Wonderz (Art) Salon” Art Center South Florida, Miami Beach
Verge Art Fair, “Small Wonderz (Art) Salon” Miami Beach
Casa de la Cultura, “ArtistaInvitaArtista”, Spain/USA, Valencia, Spain
Appleton Art Museum, “Florida Installation Art” curator: Sean Miller, Ocala
Art Shanghai, Latin American Pavilion, curator: Milagros Bello, Shanghai
Art Aqua, Art Basel Week, Wynwood, Miami
ArteAmericas, Miami Beach Convention Center, Miami Beach
Artformz, “The Making of Giants” Giants in the City Project, Miami
Bayfront Park, “Giants in the City” Artformz, Art Basel Week, Miami
Armory Art Center, “The Edge” curator: Bonnie Clearwater, W. Palm Beach
Florida International University, Green Library Gallery, “Aesthetics & Values 2008” Miami
Hardcore Contemporary Art, “Objecthood” curator: Milagros Bello, Miami
Art Miami, Convention Center, Miami Beach
Art & Cultural Center, “New Art As Universal Language” Hollywood, FL
Museum of Latin American Art, Long Beach, California
Circa 06, Puerto Rico Convention Center, San Juan, Puerto Rico
Art Miami, Convention Center, Galeria Art Nouveau, Miami Beach
Artformz Alternative, “It’s So Unfair” Art Basel Week, Miami
Edge Zones, “Beyond All That” Wynwood Arts District, Miami
Ann Norton Sculpture Gardens, “Visions” West Palm Beach
J Wayne Stark Galleries, Texas A&M University, College Station, TX
National Assoc. of Women Artists, “114th Annual Exhibition” New York
Renaissance Center, “4th Annual Regional Art Exhibit” Dickson, TN
Banana Factory, “113th Annual Exhibition” NAWA, Bethlehem, PA
Gulf Coast Museum, “Florida Fellowships 1998-99” curator: Ken Rollins, Largo
US State Dept. Art in Embassies, Ambassadorial Residence, Honduras
Mobile Museum of Art, “Triennial S.E. Exhibit” juror: James Rondeau, Mobile
Museum of Art, “Hortt 40” juror: Thelma Golden, Fort Lauderdale
Society of the Four Arts, “55th National Exhibit” juror: Kevin Consey, Palm Beach
Museo de Arte Moderno, “XVIII Bienal of Visual Arts” Santo Domingo, Dominican Republic
Musee du Luxembourg, “Les 3 Ameriques A Paris” Paris, France

FELLOWSHIPS / AWARDS / GRANTS

Artist Exchange Grant, ArtCenterSFL / Les Clíniques Es Baluard Museum, Palma de Mallorca/Miami Beach
Judges Choice Award, “Re-Produce” Bailey Arts Center, Pompano Beach
Mastermind Genius Awards “100 Creatives” Miami New Times, Miami
Knight Arts Challenge Grant, The Knight Foundation, Miami
Tourism Development Council Grant, Miami-Dade Div. Cultural Affairs, Miami
Community Grants Program Award, Miami-Dade Div. Cultural Affairs, Miami
Special Xurau Mozu Prize, Optica International Video Art Festival, Gijon, Spain
Artist Enhancement Grant, Florida Department of State, Div. Of Cultural Affairs, Tallahassee
April Z. Newhouse Memorial Award, National Association Of Women Artists, New York
Merit Award, Regional Art Exhibit, Renaissance Center of Visual Arts, Dickson, TN
Juried Feature In Southern Edition, New American Paintings
Best Of Show/Purchase Award-Triennial Exhibit, Mobile Museum of Art, Mobile, AL
Individual Artist Fellowship Painting, Florida Dept. of State, Div. of Cultural Affairs, Tallahassee
Juried Feature In Southern Ed. & Publication Cover Photo, New American Paintings
Liquitex Artist Grant, Binney & Smith, Inc., Easton, PA
Honorable Mention, Individual Artist Fellowship, FL Dept. of State, Cultural Affairs, Tallahassee
1st Prize: Video, XVIII Bienal, Museo De Arte Moderno, Santo Domingo, D.R.

INSTALLATIONS / PARTICIPATORY PROJECTS

Oolite Arts, Walgreens Windows Projects, “Blue Fades To Brown Fades To Violet”,  Miami Beach
Artformz Alternative, “The Spill Gates”, Spill, audience collaborative, 250 community participants, Miami
Frost Art Museum, “Walk-In #88: Suspended Spiral”, Aesthetics & Values, participatory installation, Miami
Green Library Gallery at FIU, “Walk-In #5 Sound Garden”, Aesthetics & Values, immersive & participatory, Miami
Frances Wolfson Gallery Miami-Dade College, “Walk-In #5: Fiddle Dee Dee” community collaboration, participatory, Miami
Daniel Azoulay Gallery, Project Room, “The Pool: Flush”, immersive installation, Miami Design District, Miami
Museo de Arte Moderno, VIII Biennial, “Walk-In #6, A Couple of Days…”, immersive, participatory, Santo Domingo, D.R.
BayFront Park, Giants in the City, Art Basel satellite exhibit, public installations, Miami, FL
Miami-Dade Parks, Art Expressions: Outdoors Site Specific, “Rogue Wave” Matheson Hammock Park, Miami, FL
Appleton Museum Biennial: Florida Installation Art, “Scratch & Win” video installation, Ocala, FL
(E)merge Art Fair – Artist’s Platform, Babylon, kinetic installation, site-specific, Washington, DC

MEDIA ART / SCREENING VENUES

Espacio Enter “Festival International Creatividad, Innovación y Cultura Digital 2019” Canary Islands
MDC Museum of Art & Design, “Cortaditos Video Shorts, 6/6:Miami/Valencia” Miami
The Frost Art Museum, “The Drawing Project” sponsored online by FIU, Miami
Espacio Enter, “Screens: Miami” TEA, Tenerife, Canary Islands
Festival Miden, “Women at Work” Kalamata, Greece
Misterpink, “Screens: Pan American” curator: Damian Jorda, Valencia, Spain
Museum of Art, “Amid the Street Noise” Ft Lauderdale
O Cinema, “Monitoring Art” Miami
Espacio Iniciarte, “Natur(aln)e(ss) of Performance…” curator: Alanna Lockward, Seville
Cervantes Institute, “Optica Paris 08” Paris
Off Loop, Casa America, Loop 2008 Festival, Barcelona
Chelsea Art Museum, “Video Art in the Age of the Internet” New York
Medianoche: New Media Gallery, “Cort(H)Itos” East Harlem
Circa 06, “Cort(H)Itos” curator: Carmen Oquendo-Villar, San Juan
Moca, “Optic Nerve III & V” North Miami
Palm Beach ICA, Media Lounge, artist highlight, curator: Michael Rush, Lake Worth
Maryland Public Television, “Independent Eye” Owings Mills
Eyedrum Art/Music Gallery, “Panoptic Mind: Untitled” Atlanta
Arts Festival of Atlanta, Video Screening, Atlanta
Louisville Film and Video Festival, “Artswatch” Louisville
Museo de Arte Moderno, Santo Domingo, Dominican Republic
Centro Cultural Paraguay-Japones, III International Short Films Festival, Paraguay

LECTURES / ART TALKS

Guest Speaker: Les Cliníques, Es Baluard Museum, Palma de Mallorca, Spain 2017
Guest Speaker, French Arts Associates, Artist Breakfast Series #2 “Discovery”, Miami 2017
Panelist: Aesthetics & Values, Artist’s Discussion, Frost Museum of Art, FIU, Miami, FL 2015
Panel Moderator: ArtTable FL Breakfast Club, MOCA N. Miami, w/Horton, del Buono, Von Lates 2015
Panelist: “What’s Next for Wynwood” Simmons-Jimenez, Collins, Lombardi, Snitzer, Kohen, Coral Gables 2011
Keynote Speaker: “Nomadic Networks: Independent Spaces” Escola de Musica Godella, Valencia, Spain 2010
Guest Panelist: “Where is the Miami Art Scene” Simmons-Jimenez, Kohen, Minto, Coral Gables 2009
Guest Lecture: “Issues in Art Making” UM, for Professor Alfredo Triff, Philosophy Dept. Miami 2007
Guest Panelist: Art & Cultural Center, “New Art As Universal Language” Hollywood, FL 2006
Guest Panelist: Culture in the City, “Passion in Art: not just pretty pictures” Women’s Club, Coconut Grove 2006
Guest Panelist: Gulf Coast Museum of Art, Artists Roundtable, moderator: Ken Rollins, Largo 2000

DISTINCTIONS / EXPANDED PRACTICE

2017                Participation: Art Basel/Miami Beach: Studio Visits Program, Miami Art Fair Week, Miami FL
2016-Present   Podcast Founder/Director/Host: Art & Company Podcast, Miami
2013 – 2016    Board of Directors: ArtTable, Inc., New York, FL Chapter Chair, FL Program Chair
2015, ’16, ’17   Mentor: “One X One” Young Women in the Arts Mentorship Program, ArtTable Florida
2015                Creation/Development: “One X One” Young Women’s Mentorship Program, ArtTable FL, Miami
2013                Event Director, Art Basel /Miami Beach ArtTable Event: Studio Visits & PAMM Tour, Miami
2012.               Juror: Appleton Biennial: Florida Installation Art, Chief Curator: Ruth Grim, Ocala
2011-present   Director: Artformz Curatorial Projects, art project development, Miami,
2004-2011       Founder/Director: Artformz Alternative, artist run space, Miami
2010                Cert. of Appreciation: Miami-Dade Mayor and County Board of Commissioners, The City of Miami, Mayor Regalado, Miami
2010                Panel Creation: New Media in Art Making, Collins, Wischer, Sanchez-Calderon, Matamoros, Wright, Tschida, Miami
2009                Jury Panelist: PDP, Creative Capital Foundation, NY – Miami-Dade Cult. Affairs, Miami
2000                Grant Jury Panelist Appointment: Visual Arts, Florida Department of State, Tallahassee
1995                Juried Member: Art in Embassies Program, U.S. Department of State, Washington, D.C.
1980                Founding Member/Artist Educator, M.A.I. Mujeres Asociadas con la Industria, Dominican Republic

SELECTED COLLECTIONS

Public Collections:
Mirabal Sisters Memorial Plaque, Place de la République Dominicaine, private commission for The City of Paris, France
21c Museum, The Foundation for Contemporary Art, Louisville, KY
Mobile Museum of Art, Mobile, AL
Jaffe Center for Book Arts at Florida Atlantic University, FL
Museo de Arte Moderno, Santo Domingo, D.R.
Museo de las Casas Reales, Santo Domingo, D.R.
The United States Embassy, Santo Domingo, D.R.
The Dominican-American Cultural Institute, Santo Domingo, D.R.

Corporate Collections:
Mastercard International Corporation, Miami, FL
Binney & Smith, Inc., Easton, PA
SunTrust Bank, Miami, FL
PanAmSat, Coral Gables, FL
Banco Popular, Santo Domingo, Dominican Republic

Large-Scale Commissioned Works:
Hotel Lina, Santo Domingo, Dominican Republic
Hotel Casa de Campo, La Romana, Dominican Republic
Hotel Montemar, Puerto Plata, Dominican Republic

Private Collections:
The Alan & Vivien Hassenfeld Collection, Boston, MA
William Ramsay, Ramsay Fairs, LLC, London, UK
The Lewis-Sebring Family, Fisher Island, FL
Renee Rapaporte Private Collection, Chestnut Hill, MA
The Ortíz-Gurdian Collection, Manágua, Nicaragua

PRESS – published reviews, articles, essays

Cover photo: Twyla.com

Art Deco and Modernism Exhibit

a-visual-code-flyer

GRAND OPENING: Art Deco and Modernism Exhibit Debuts in North Miami 

In recognition of April as National Architecture Month, 21 international artists will exhibit works inspired by Art Deco and Modernism in the heart of North Miami 

WHAT 

As a continuation of the NoMi Art Series, the North Miami Community Redevelopment Agency (NMCRA) and Copperbridge Foundation are collaborating to present the next installation, Art Deco and Modernism-inspired exhibit called “.  

“A Visual Code” commemorates architectural month with the works of 21 International artists, working in different mediums representing their view of modernism and architecture.  

Curated by Elvia Castro, “A Visual Code” is inspired by Art Deco and Modernist architecture. In honor of Architectural Month, the show features artists, whose work is influenced by both Art Deco and modernist movements.

Exhibiting artists include: Eric Alfaro (IG @ericalfaroart) / Alejandro Taquechel (IG @alejandro_taquechel) / Ana Andras (IG @anaandrassketcher) / Alexandre Arrechea (IG @alexandrearrechea) / Daniel Rodríguez Collazo (IG @dcollazo24687) / Meme Ferré (IG @memearte) / Fernando Enfori García  /  Oscar Glottman (IG @oscar_glottman)  / Luis Gómez  / Iván Luis Malesani – Argentina  / Jessie Matrullo (IG @BohemianRoyalty) / Ali Miranda (IG @alifotoart) / Noel Morera (IG @noel.morera.5)  / Rocío Morejón (IG @massa_girls) / Danay Nápoles (IG @danay_napoles) / Alexander Pérez Balseiro / René Rodríguez (IG estudio_renerodriguez) / Noel Suárez (IG @noelsuarezartist_miami) / Rubén Torres-Llorca (IG @rubentorresllorca) / Ramón Williams  / Jose Gelabert-Navia (IG @gelabert_navia) / Deborah Desilets (Author of: Morris Lapidus: An Architecture of Joy. Morris Lapidus exhibits and student works) 

WHEN 

Tuesday, April 4th, 2023, from 5:00pm – 8:00pm 

Admission is free – please RSVP here via Eventbrite.

WHERE 

Scott Galvin Community Center, 1600 Northeast 126th Street North Miami, FL 33181 

WHO 

  • Anna-Bo Emmanuel, Executive Director of the North Miami Community Redevelopment Agency  
  • Geo Darder, Founder of Copperbridge Foundation 
  • Daniel Ciraldo, Executive Director of the Miami Design Preservation League 

Van Doesburg

Concrete Art Theo van Doesburg
Concrete Art Theo van Doesburg

Theo van Doesburg

Concrete Art, De Stijl, Neo-Plasticism, Bauhaus

DUTCH PAINTER, DESIGNER, AND ARCHITECT

Born: August 30, 1883 – Utrecht, Netherlands

Died: March 7, 1931 – Davos, Switzerland

Christian Emil Marie Küpper, who adopted the pseudonym Theo van Doesburg, was born in Utrecht, the Netherlands, on August 30, 1883. His first exhibition of paintings was held in 1908 in the Hague. In the early 1910s he wrote poetry and established himself as an art critic. From 1914 to 1916 van Doesburg served in the Dutch army, after which time he settled in Leiden and began his collaboration with the architects J. J. P. Oud and Jan Wils. In 1917 they founded the group De Stijl and the periodical of the same name; other original members were Vilmos Huszár, Piet Mondrian, Bart van der Leck, and Georges Vantongerloo. Van Doesburg executed decorations for Oud’s De Vonk project in Noordwijkerhout in 1917.

In 1920 he resumed his writing, using the pen name I. K. Bonset and later Aldo Camini. Van Doesburg visited Berlin and Weimar in 1921 and the following year taught at the Weimar Bauhaus, where he associated with Raoul Hausmann, Le Corbusier, Ludwig Mies van der Rohe, and Hans Richter. He was interested in Dada at this time and worked with Kurt Schwitters as well as Jean Arp, Tristan Tzara, and others on the review Mécano in 1922. Exhibitions of the architectural designs of Gerrit Rietveld, van Doesburg, and Cor van Eesteren were held in Paris in 1923 at Léonce Rosenberg’s Galerie l’Effort Moderne and in 1924 at the Ecole Spéciale d’Architecture.

The Landesmuseum of Weimar presented a solo show of van Doesburg’s work in 1924. That same year he lectured on modern literature in Prague, Vienna, and Hannover, and the Bauhaus published his Grundbegriffe der neuen gestaltenden Kunst (Principles of Neo-Plastic Art). A new phase of De Stijl was declared by van Doesburg in his manifesto of “Elementarism,” published in 1926. During that year he collaborated with Arp and Sophie Taeuber-Arp on the decoration of the restaurant-cabaret L’Aubette in Strasbourg. Van Doesburg returned to Paris in 1929 and began working on a house at Meudon-Val-Fleury with van Eesteren. Also in that year he published the first issue of Art concret, the organ of the Paris-based group of the same name. Van Doesburg was the moving force behind the formation of the group Abstraction-Création in Paris. The artist died on March 7, 1931, in Davos, Switzerland.

Theo Van Doesburg was one of the founders and leading theorists of De Stijl along with Piet Mondrian, which began in the Netherlands and flourished into one of the major inter-war movements. It advocated a simplified, geometric, and reductive aesthetic in the visual arts and argued that painting, design, and architecture should be fully integrated. Van Doesburg created numerous abstract paintings and designed buildings, room decorations, stained glass, furniture, and household items that exemplified De Stijl’s aesthetic theories and his personal ideas. He wrote numerous essays and treatises on geometric abstraction and De Stijl, published journals, and organized many exhibitions of works by De Stijl artists and related movements.

Van Doesburg’s personal version of De Stijl was called Elementarism, which emphasized subtle shifts in tones, tilting squares and rectangles at angles relative to the picture plane, and allowed straight horizontal and vertical lines to be colored, varied in length, and disconnected from one another.


Van Doesburg wanted to give De Stijl more variety, movement, and energy than found in Piet Mondrian’s personal version of the movement, which was called Neoplasticism. This small but crucial difference in his thinking led to Van Doesburg and Mondrian’s split in 1924.


Van Doesburg believed that art should be an absorbing, spatial, and environmental experience. This led him to create architectural designs, stained glass, interior decoration, furniture, and other functional, daily items that were carefully related to one another and were meant to be installed together for a holistic experience. Many of these were never actually built or manufactured.


Van Doesburg felt that abstraction’s unique value was its ability to achieve social order and universal harmony with its precise, orderly geometry and vibrant, contrasting colors. He also felt that his reductive method had spiritually and morally uplifting qualities. His Dancers series demonstrates both his abstraction, and the spiritual inspiration he found in it.

Childhood and Education
Theo van Doesburg was born in Utrecht, the Netherlands to Wilhelm Kupper and Henrietta Catherina Margadant. Originally named Christian Emile Marie Kupper, he considered his stepfather, Theodorus Doesburg, to be his natural father, eventually taking his stepfather’s name when he began his painting career. Van Doesburg served in the Dutch military and during World War I (from 1914 to 1916), he was stationed near Tilburg. He was married four times; the first three marriages ended in divorce and the fourth lasted until his death.

He trained in singing and acting before deciding to become a painter, and diverse interests continued to be a hallmark of his career. His first exhibition was in 1908, and starting in 1912 he supported his painting by writing for magazines. Until 1913 he explored traditional representational painting, greatly influenced by Vincent Van Gogh, and the then more modernist figurative styles. After reading Wassily Kandinsky’s autobiographical Ruckblicke, he had a revelation about the nature of painting and its connection to spirituality. He began to study Theosophy, which influenced his ideas about artistic harmony. The idea that painting originates in the mind changed his style, and he began working in a more personally expressive and painterly abstract style because of this. Two years later, his devotion to Kandinsky’s ideas and style of painting had waned considerably after exposure to Piet Mondrian’s paintings in 1915 while reviewing an exhibition on an assignment from a magazine.

Early Training
Theo van Doesburg Biography
In 1916, van Doesburg began to develop his distinct variation of De Stijl. He became convinced that painting, architecture and design should be completely integrated and that art should not only be a visual experience, but part of a larger, more encompassing spatial and physical environment. In October 1917, along with Piet Mondrian, Bart van der Leck, and J.J. Oud, he was one of the founders of the De Stijl movement, and its magazine, De Stijl. Van Doesburg was probably its most ardent supporter in the years to come, spreading the message of De Stijl across Europe, and editing and publishing the magazine until its end in 1931. De Stijl was the Dutch variation of the geometric abstraction that developed across Europe. It was characterized by long straight black lines used to define squares and rectangles that are filled in with white, grays, or primary colors.

In addition to editing, and writing for De Stijl, van Doesburg advocated for his theories and other artists’ ideas in various publications that he helped publish. Mécano, published in 1922-1923, was more concerned with Dada, another artistic movement he was greatly interested in and to which he contributed. Van Doesburg’s extensive traveling throughout Europe, including visits to France, Italy, Germany, and Spain, made him personally familiar with many of his contemporaries and their works and ideas. In these years, he organized many exhibits of Bauhaus, De Stijl, and Constructivist artists, and even some of Dada artists. He lectured on the ideas of De Stijl at the Bauhaus in 1921, moving to Weimar in 1922 to try and ingratiate himself with principal Bauhaus member, Walter Gropius. However he was never invited to become part of the Bauhaus faculty because the Bauhaus leaders considered his idea too dogmatic and narrow. Nevertheless, van Doesburg was tenacious; setting himself up next to the Bauhaus buildings and teaching interested students about Constructivism, Dada, and De Stijl.

While promoting De Stijl, van Doesburg collaborated with architects and designers as early as 1918, working on numerous projects with the architects J.J. Oud, Gerrit Rietveld, and Cornelis van Easteren. The architectural works that they created together reflected the De Stijl intention of integrating art, architecture, and design. Van Doesburg took the geometry and color of a De Stijl painting off of the canvas and transformed it into an architectural structure; the illustrations for the “Maison Particuliere” that he designed with van Easteren demonstrate this intention. Van Doesburg designed stained glass windows for a house that Oud was building in 1918, as well as the windows and interior decorations for apartment buildings in Rotterdam that Oud was working on from 1918 to 1920. However, this idealistic cooperation proved short-lived, as disagreements over designs and balancing how architecture would be complemented and enhanced with painting or decoration led to deep divisions among the artists and architects associated with the movement.

Besides architecture, van Doesburg explored structure in a different way by working in typography. In 1919 he designed an alphabet style that was severely reductive and geometric, which was intended for use in De Stijl posters, signs, decorations, and architecture. Interest in it flourished for only a few years. In the 1920’s he collaborated with Kurt Schwitters and Kate Steintz on a series of children’s books and fairy tale collections which used the typeface; he also designed book covers and posters incorporating his ideas on typography.

Further proving how varied his interests were, Dada also intrigued van Doesburg. He socialized with numerous Dada artists, creating Dada artworks as early as 1920. He felt that there were aesthetic and expressive benefits to shifting styles so radically. However, he had reservations about being associated too closely with Dada; perhaps because he felt that its irony, sarcasm, and pessimistic outlook conflicted too sharply with the utopian ideas of De Stijl. He wrote Dada poetry under the pen name “I.K. Bonset,” which means “I am a fool” in Dutch. He submitted poetry to De Stijl magazine, as well as editing the Dada magazine, Mecano. Most of his friends did not know until after his death that van Doesburg was “I.K. Bonset.” He even had his wife Nelly dress in drag as “I.K. Bonset” with a false mustache, smoking a pipe, and wearing an aviator’s helmet and goggles. Both participated in Dada performances, including a Dada tour of Holland with Kurt Schwitters.

Mature Period
In 1923 van Doesburg left Weimar and moved to Paris to be closer to Mondrian. Unfortunately, their personal and professional relationship soon dissolved. Previously, the two artists had only corresponded by mail. In person their divergent personalities were apparent: van Doesburg was extroverted and flamboyant, while Mondrian was introverted. These differences came to a head in 1924, leading to a rupture with Mondrian. The exact reason for the split has been contested among art historians, but many believe that it was due to opposing artistic ideas – primarily that Mondrian did not agree with the use of diagonals whereas van Doesburg insisted that they were a necessity. After the breakup, Van Doesburg further developed his artistic style, creating many paintings that constituted his Counter-Compositions series. These paintings reflect his development of Elementarism, his own variation on Mondrian’s Neoplasticism, which he felt, as evidenced by the split with Mondrian, had become too narrow and rigid in its insistent use of horizontal and vertical linear construction and the combination of only white and primary colors. Elementarism allowed for diagonal lines and triangles to create more varied, overlapping and interactive shapes in compositions that were still basically two-dimensional. It also used graduated tones of primary colors and shades of gray for more variety and interaction between colors, and lights and darks. There was a brief reconciliation when the two men accidentally met in a Parisian café in 1924.

While in the middle of this tumultuous time with Mondrian, van Doesburg worked with van Easteren on several designs for houses, some of which were exhibited but none of which were ever built. These designs involved broad geometric planes in primary colors that suggested or indicated planar divisions of space without creating clearly determined, but limiting, walls and ceilings. In 1926, van Doesburg was invited by Hans and Sophie Tauber Arp to collaborate with them on redesigning the Aubette Building in Strasbourg, so that it would have a café, dance hall, and movie theater. He worked on all aspects of these new parts of the building, from the rooms to their tables and chairs, and small furnishings. His recently developed concepts of Elementarism were used extensively in this project. However innovative his work was, the redesign was not well received by the public when the building re-opened in 1929, and it was soon replaced with more conservative decorations and designs.

Late Period
Theo van Doesburg Portrait

After the dissolution of Dada, while in Paris in 1929 van Doesburg helped create the group Art Concret and was one of the publishers of its short-lived journal. The group was partly a continuation of De Stijl, but went further, emphasizing geometrical abstract art that was considered the most radical and absolute formulation of abstraction. Van Doesburg’s manifesto “Basis of Concrete Painting”, published in the journal, is considered the foundational document of Concrete Art, that developed this philosophy over the following two decades and grew into a large, international movement. The Art Concret group only exhibited three times in 1930, at the Salon des Surindependants in Paris, Production Paris 30 in Zurich, and the International Exhibit of Post-Cubist Art in Stockholm. In 1932, Art Concret was absorbed into Abstraction-Creation, a larger and more robust organization that was established in 1931, partly with his support, and lasted until 1936.


Van Doesburg’s last major project was the house that he designed for himself and his wife in Meunon, France in 1930-1931. Unlike his work in the 1920s, this house was more reductive and restrained in forms and colors. However, he never saw the house to completion. After several years of poor health he died of a heart attack in 1931 in Davos, Switzerland. His wife, Nelly, lived in the house until her death in 1975.

Artist: Theo van Doesburg
b. 1883, Utrecht, Netherlands; d. 1931, Davos, Switzerland
Title: Counter-Composition XIII
Date: 1925–26
Medium: Oil on canvas
Dimensions: 19 5/8 x 19 5/8 inches (49.9 x 50 cm)

Theo van Doesburg

Counter-Composition XIII (Contra-Compositie XIII)

About 1924 Theo van Doesburg rebelled against Piet Mondrian’s programmatic insistence on the restriction of line to vertical and horizontal orientations, and produced his first Counter-Composition. The direction consequently taken by Neo-Plasticism was designated “Elementarism” by van Doesburg, who described its method of construction as “based on the neutralization of positive and negative directions by the diagonal and, as far as color is concerned, by the dissonant. Equilibrated relations are not an ultimate result.”¹ Mondrian considered this redefinition of Neo-Plasticism heretical; he was soon to resign from the De Stijl group.

This canvas upholds the Neo-Plastic dictum of “peripheric” composition. The focus is decentralized and there are no empty, inactive areas. The geometric planes are emphasized equally, related by contrasts of color, scale, and direction. One’s eyes follow the trajectories of isosceles triangles and stray beyond the canvas to complete mentally the larger triangles sliced off by its edges. The placement of the vertical axis to the left of center and the barely off-square proportions of the support create a sense of shifting balance.

Lucy Flint

1. Quoted in Hans Ludwig C. Jaffé, De Stijl, 1917–1931: The Dutch Contribution to Modern Art (London: A. Tirnati, 1956), p. 26.

Source: https://www.guggenheim.org/artwork/1080



Michel Pérez Sosa-

Michel Pérez Sosa
Michel Pérez Sosa

Michel Pérez Sosa artista visual

Michel Perez Sosa
Michel Perez Sosa
Michel Perez Sosa
Michel Pérez Sosa-
Michel Pérez Sosa

ANA MERCEDES HOYOS

Ana Mercedes Hoyos
Ana Mercedes Hoyos

Ana Mercedes Hoyos (1942-2014)

Geometría sensible

Ana Mercedes Hoyos (1942-2014) artista colombiana. Estudió artes plásticas en la Universidad de los Andes y en la Universidad Nacional de Bogotá, pero no se graduó en ninguna de ellas por dedicarse a la pintura. En 1966 Hoyos comenzó a exponer su obra, muy cercana al arte pop. Su interés por la investigación de las variaciones del color y las transparencias del óleo le llevó a la abstracción, con superficies muy claras, cercanas al blanco, con variaciones tonales casi imperceptibles.

Una de sus series más importantes, titulada “Ventanas”, está compuesta por pinturas de pequeño formato, cuadradas, en las que líneas verticales, horizontales y diagonales enmarcan un paisaje abstracto. Tras esta representación arquitectónica y geométrica dio paso a la serie “Atmosferas”, compuesta por cuadros de superficies abstractas que tienden al blanco con tono azulados. Así, en esta etapa su obra (1969-1979) se basa en criterios cromáticos, no representativos.

ANA MERCEDES HOYOS (1942-2014) Ventana, 1978 Litografía Medidas: 80 x 60 cm Ed. 34/35
Ana Mercedes Hoyos
Ana Mercedes Hoyos, Geometría sensible
Ana Mercedes Hoyos, Ventana, 1980 Silkscreen on paper Prints & Graphic Art 45 x 45 cm Signed, 2/35
Ana Mercedes Hoyos, Muro, 1982 Silkscreen on paper. Prints & Graphic Art 60 x 60 cm
Ana Mercedes Hoyos, Muro, 1982 Silkscreen on paper. Prints & Graphic Art 60 x 60 cm

GEOMETRIA SENSÍVEL

Una geometría que pueda integrar, desde luego, las diferentes propiedades perceptivas, con el fin de presentarse como una especie de interfaz entre percepción y expresión: es lo que llamaremos una geometría sensible. 

ANA MERCEDES HOYOS, Atmósfera, 1978, Oil on canvas, 47¼ x 47¼ in. 120 x 120 cm
ANA MERCEDES HOYOS, El Sol, 1981, Oil on canvas, Diameter: 47¼ in. 120 cm.

Biography

Artist Record Prices

The 1998 record price for Ana Mercedes Hoyos was for Caribe Dos Sandas (a triptych)

The 1999 record price for Ana Mercedes Hoyos was for Patillas de la cordialidad

The 2000 record price for Ana Mercedes Hoyos was for Plátanos

The 2002 record price for Ana Mercedes Hoyos was for Bazurto

The 2004 record price for Ana Mercedes Hoyos was for SANDÍA DE LA CORDIALIDAD

The 2005 record price for Ana Mercedes Hoyos was for PAPAYA

The 2006 record price for Ana Mercedes Hoyos was for Marina

The 2008 record price for Ana Mercedes Hoyos was for La procesión en la fiesta de San Basilio

The 2009 record price for Ana Mercedes Hoyos was for SANDÍA DE LA CORDIALIDAD I

The 2011 record price for Ana Mercedes Hoyos was for Sandía

The 2012 record price for Ana Mercedes Hoyos was for Palenquera

The 2013 record price for Ana Mercedes Hoyos was for Bazurto

The 2014 record price for Ana Mercedes Hoyos was for MURAL IN THREE PARTS

The 2016 record price for Ana Mercedes Hoyos was for BAZURTO

The 2017 record price for Ana Mercedes Hoyos was for Tamboreras de la banda de Malangana

The 2018 record price for Ana Mercedes Hoyos was for Bodegón de Palenque

The 2019 record price for Ana Mercedes Hoyos was for Porcelana y mar

The 2020 record price for Ana Mercedes Hoyos was for Bodegón

The 2021 record price for Ana Mercedes Hoyos was for Bodegón

The 2022 record price for Ana Mercedes Hoyos was for Porcelana del mediodía

The 2023 record price for Ana Mercedes Hoyos was for Palangana del mediodía (fragmento)

Selected Solo Exhibitions

2017

  • Ana Mercedes Hoyos: Abstracción Convergente ,Nueveochenta Gallery ,Bogota, Colombia

2014

  • Ana Mercedes Hoyos ,Nueveochenta Gallery ,Bogota, Colombia

2008

  • Ana Mercedes Hoyos ,Addison/Ripley Gallery ,Georgetown, Washington D.C., District Of Columbia, USA
Selected Group Exhibitions

2023

  • Reencuentros ,Nueveochenta Gallery ,Bogota, Colombia

2015

  • Folding: Line, Space & Body/ Latin American Women Artists Working Around Abstraction ,Henrique Faria, New York ,Upper East Side, New York, USA

Ana Mercedes Hoyos was a Colombian Postwar & Contemporary painter who was born in 1942. Their work is currently being shown at Nueveochenta Gallery in Bogota. Numerous key galleries and museums such as Nueveochenta Gallery have featured Ana Mercedes Hoyos’s work in the past.Ana Mercedes Hoyos’s work has been offered at auction multiple times, with realized prices ranging from 175 USD to 245,000 USD, depending on the size and medium of the artwork. Since 1998 the record price for this artist at auction is 245,000 USD for MURAL IN THREE PARTS, sold at Sotheby’s New York in 2014. Ana Mercedes Hoyos has been featured in articles for ARTFIXdaily and Art Nexus. The most recent article is Phillips to Offer 100 Years of Latin American Art on November 22 written for ARTFIXdaily in November 2016. The artist died in 2014.

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Cch
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Errò
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Tano Festa
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Robert Filliou
Novello Finotti
Ennio Finzi
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Giosetta Fioroni
Lothar Fischer
Salvatore Fiume
Dan Flavin
Dario Perez Flores
Andrea Fogli
Piero Fogliati
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Nino Franchina
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Alberto Garutti
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Rupprecht Geiger
Franco Gentilini
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Mimmo Germanà
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Ghazel
Quinto Ghermandi
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Luigi Ghirri
Franca Ghitti
Riccardo Giacconi
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Ormond Gigli
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LÉon Gischia
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Henri Goetz
Kuno Gonschior
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Paul Goodwin
Gianni Gori
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Antony Gormley
Claudio Granaroli
Gotthard Graubner
Alan Green
Ezio Gribaudo
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Franco Grignani
Vicentiu Grigorescu
Pat Grimshaw
Laura Grisi
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George Grosz
Gruppo Mid
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Carlo Guarienti
Riccardo Guarneri
Giuliano Guatta
Costantino Guenzi
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Abraham Habbah
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Herbert Hamak
Al Hansen
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Rolf Hegetusch
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Friedensreich Hundertwasser
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Paolo Icaro
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Aldo Indelicato
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Mimmo Jodice
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Ho Kan
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Thorsten Kirchhoff
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JiŘÍ KolÁŘ
Slavko Kopac
Vladimír Kopecký
Bogdan Korczowski
Alex Kosta
Joseph Kosuth
Eva Kotatkova
Jannis Kounellis
Martin Krampen
Metka Krasovec
Les Krims
Elke Krystufek
Moshe Kupferman
Yayoi Kusama
Ugo La Pietra
Guido La Regina
Ketty La Rocca
Maria Lai
Wifredo Lam
Edoardo Landi
André Lanskoy
Robert Lapoujade
Mikhail Larionov
Emilio Rodriguez LarraÍn
John Latham
Luciano Lattanzi
René Laubies
Pier Luigi Lavagnino
Bice Lazzari
Walter Lazzaro
Julio Le Parc
Vladimir Vasil’evich Lebedev
Jean-jacques Lebel
Walter Leblanc
Fernand Léger
Anselmo Legnani
Thomas Lenk
Leoncillo
Jean Leppien
Carlo Levi
Felice Levini
Sol Lewitt
Riccardo Licata
Roy Lichtenstein
Osvaldo Licini
Antonio Ligabue
Umberto Lilloni
Bengt Lindström
Luca Lischetti
Marcello Lo Giudice
Francesco Lo Savio
Richard Paul Lohse
Richard Long
Trento Longaretti
Robert Longo
Alberto Longoni
Arrigo Lora Totino
Jaque Louis
Peter Lowe
Richard Lucas
Wolfgang Ludwig
Gino Luggi
Raffaele Luongo
Markus Lüpertz
Boris Lurie
Adolf Luther
Urs Luthi
Luthi Urs, David Weiss, Willy Spiller
Heinz Mack
Luigi Magnani
Alberto Magnelli
Teodosio Magnoni
Nataly Maier
Estuardo Maldonado
David Malek
Robert Mallary
Renato Mambor
Man Ray
Pompilio Mandelli
Alfred Manessier
Paul Mansouroff
Margherita Manzelli
Giuseppe Maraniello
Conrad Marca – Relli
Elio Marchegiani
Giancarlo Marchese
Lucia Marcucci
Enzo Mari
Elio Mariani
Pompeo Mariani
Umberto Mariani
Leonardo Mariani Travi
Filippo Tommaso Marinetti
Marino Marini
Francesco Marino Di Teana
Silvia Mariotti
Gino Marotta
Armando Marrocco
Alfredo Marsala
Phillip Martin
Rafael Martinez
Alberto Martini
Arturo Martini
Sandro Martini
Titina Maselli
Paolo Masi
Joanpere Massana
Manfredo Massironi
Georges Mathieu
Georges Mathieu
Vittorio Matino
Roberto Matta
Eliseo Mattiacci
Carlo Mattioli
Paola Mattioli
Fabio Mauri
Almir Mavignier Da Silva
Galliano Mazzon
Paul Mccarthy
Steve Mccurry
John Dwyer Mclaughlin
Jonathan Meese
Christian Megert
Juan Nicolas Mele’
Pietro Melecchi
Gino Meloni
Fausto Melotti
Nevio Mengacci
Aldo Mengolini
Jacques Mennessons
Gisella Meo
Mario Merz
Plinio Mesciulam
Edouard Mesens
Joachim Metz
Eugenio Miccini
Michael Antony Michaeledes
Duane Michals
Rolando Mignani
Eleanore Mikus
Umberto Milani
Raúl Milian
Yves Millecamps
Paolo Minoli
Giuseppe Minoretti
Riccardo Minuti
Jean Miotte
Antoni Miralda
Joan Mirò
Alain Arias Misson
Ottavio Missoni
Igor Mitoraj
Aimone Modonesi
Ignazio Moncada
Aldo Mondino
Jonathan Monk
Alvaro Monnini
Luigi Montanarini
Gian Marco Montesano
Rolando Monti
Charlotte Moorman
Carmen Gloria Morales
Albano Morandi
Giorgio Morandi
Marcello Morandini
Gino Morandis
Alberto Moravia
FranÇois Morellet
Mattia Moreni
Guido Moretti
Maria Morganti
Philippe Morisson
Ennio Morlotti
Leonardo Mosso
Sadamasa Motonaga
Otto Muehl
Maria Mulas
Bruno Munari
Vik Muniz
Rosario Murabito
Edo Murtic
Zoran Antonio Music
Magdalo Mussio
Hidetoshi Nagasawa
Michael Najjar
Katsumi Nakai
Ayako Nakamiya
Louis Nallard
Carlo Nangeroni
Maurizio Nannucci
Gualtiero Nativi
Matteo Negri
Yehuda Neiman
Giorgio Nelva
Aurelie Nemours
Shirin Neshat
Ugo Nespolo
Tuan Nguyen
Valerio Nicolai
Vanna Nicolotti
Davide Nido
Mario Nigro
Hermann Nitsch
Georges Noel
Yoshiko Noma
Koloman Novak
Ladislav Novak
Gastone Novelli
Mario Nuti
Nuvolo
Rinaldo Nuzzolese
Henrik Olesen
Jules Olitski
Claudio Olivieri
Erik H. Olson
Shigeru Onishi
Luigi Ontani
Roman Opalka
Dennis Oppenheim
Luciano Ori
Ben Ormenese
Gottardo Ortelli
Stephanie Oursler
Nino Ovan
Jürgen Paatz
Achille Pace
Carlo Pace
Adrian Paci
Stanislao Pacus
Nam June Paik
Marco Paladini
Mimmo Paladino
Urano Palma
Panamarenko
Gina Pane
Ivo Pannaggi
Ideo Pantaleoni
Giulio Paolini
Antonio Paolino
Maria Papa
Antonio Papasso
Luigi Paracchini
Antonio Paradiso
Gianfranco Pardi
Ico Parisi
Adriano Parisot
Robert & Shana Parkeharrison
Olivia Parker
Tancredi Parmeggiani
Claudio Parmiggiani
Pino Pascali
Victor Pasmore
Paolo Pasotto
Luca Maria Patella
Paolo Patelli
Enrico Paulucci
Dario Pecoraro
Pino Pedano
Henk Peeters
Luc Peire
Gianni Pellegrini
Fabio Peloso
A.r. Penck
Michelangelo Penso
Rafael Perez
Michele Perfetti
Achille Perilli
Mario Persico
Romano Perusini
Alessandro Pessoli
Cesare Peverelli
Paola Pezzi
Gianluca Piaccione
Gianni Piacentino
Pablo Picasso
Gianriccardo Piccoli
Lorenzo Piemonti
Otto Piene
Ercole Pignatelli
Lamberto Pignotti
Pino Pinelli
Gaetano Pinna
Jorge Piqueras
Franca Pisani
Vettor Pisani
Michelangelo Pistoletto
Ario Pizzarelli
Piero Pizzi Cannella
Armando Pizzinato
Giovanni Pizzo
Karl Plattner
Fabrizio Plessi
Sigmar Polke
Pierluigi Pollio
Arnaldo Pomodoro
Giò Pomodoro
Yves Popet
André Poujet
Bogdanka Poznanovic
Concetto Pozzati
Luca Pozzi
Enrico Prampolini
Hiero Prampolini
Vladimir Preclik
Luigi Presicce
Salvador Presta
Dolores Previtali
Emilio Prini
Michele Provinciali
Bruno Pulga
Pierluigi Pusole
Bruno Querci
Marc Quinn
Andrea Raccagni
Mario Raciti
Paolo Radi
Mario Radice
Betty Radin
Sergio Ragalzi
Arnulf Rainer
Rudolph Rainer
Tomas Rajlich
Carol Rama
Amilcare Rambelli
Saverio Rampin
Alfredo Rapetti
Giorgio Rastelli
Robert Rauschenberg
Martial Raysse
Antonio Recalcati
Mauro Reggiani
David Reimondo
Wolfgang Reindel
Ad Reinhardt
Remo Remotti
Sandi Renko
Edda Renouf
Carl Fredrik Reuterswärd
Manlio Rho
Gerhard Richter
Hans Richter
Franz Ringel
Alvarez Rios
Giuseppe Rivadossi
Romano Rizzato
Gianni Robusti
Joaquin Roca Rey
Dorothea Rockburne
Christian Roeckenschuss
Michael Rogler
Franco Rognoni
Volf Roitman
Hans Rolf
Alessandro Roma
Bepi Romagnoni
Paola Romano
Bruno Romeda
Sergio Romiti
Ottone Rosai
Kay Rosen
Mario Rossello
Horacio Garcia Rossi
Raffaele Rossi
Mimmo Rotella
Dieter Roth
Claudio Rotta Loria
Piero Ruggeri
Ed Ruscha
Fathi Goudah Saad
Bruno Saetti
Lucio Saffaro
Massimo Salvadori
Salvo
Roberto Sambonet
Pupino Samona
Fred Sandback
Patric Sandri
Sandra Sandri
Antonio Sanfilippo
Jean Sanfourche
Giovanni Santi Sircana
Giuseppe Santomaso
Michele Santonocito
Pasquale Santoro
Amedeo Sanzone
Sarenco
Franco Sarnari
Alessandro Sarra
Sergio Sarri
Germano Sartelli
Arcangelo Sassolino
Aligi Sassu
Key Sato
Satoru Satu
Jan Saudek
Angelo Savelli
Antonio Scaccabarozzi
Emilio Scanavino
Manuel Scano
Luca Scarabelli
Salvatore Scarpitta
Xanti Alexander Schawinsky
Paolo Scheggi
Hubert Scheibl
Thomas Scheibl
Paolo Schiavocampo
Mario Schifano
Gérard Schlosser
Aldo Schmid
Carolee Schneemann
Gerard Schneider
Nicolas Schoffer
Jan Schoonhoven
Werner Schreib
Frank Schroder
Friedrich Schroeder-sonnenstern
Raoul Schultz
Thomas Schutte
Peter Schuyff
Rudolf Schwarzkogler
Toti Scialoja
Paolo Scirpa
Filippo Scroppo
Tazio Secchiaroli
Antonio Secci
Luigi Senesi
Daniel Senise
Sermidi Sergio
Rino Sernaglia
Jaroslav Serpan
Gino Severini
Artan Shalsi
Cindy Sherman
Shozo Shimamoto
Brandon Shimmel
Susumu Shingu
Harush Shlomo
Willi Siber
Mario Signori
Turi Simeti
Gianni Emilio Simonetti
Adriena Simotova
David Simpson
Mario Sironi
Sissi
Richard Smith
Tracey Snelling
Francisco Sobrino
Giacomo Soffiantino
Sebastiano Sofia
Atanasio Soldati
Franca Sonnino
Ettore Sordini
Afroyim Soshana
Jesus Rafael Soto
Ettore Sottsass
Pierre Soulages
Giangiacomo Spadari
Renato Spagnoli
Giuseppe Spagnulo
Ettore Spalletti
Adriano Spatola
Luigi Spazzapan
Ferdinand Spindel
Aldo Spinelli
Daniel Spoerri
Alessandra Spranzi
Mauro Staccioli
Richard Stankiewicz
Vito Stassi
Hans Staudacher
Klaus Staudt
Henryk Stazewski
Tino Stefanoni
Joel Stein
Heinrich Steiner
Ugo Sterpini
Harold Stevenson
Sigfried Strasser
Guido Strazza
Luiso Sturla
Oswaldo Subero
Josef Sudek
Jiro Sugawara
Gaston Suisse
Yasuo Sumi
Mario Surbone
Miroslav Sutej
Graham Sutherland
Douglas Swan
Gilbert Swimberghe
Cesare Tacchi
Emilio Tadini
Aldo Tagliaferro
Naoya Takahara
Shu Takahashi
Antoni Tàpies
Ernesto Tatafiore
Tato
Vittorio Tavernari
Giorgio Teardo
Monica Temporiti
Piet Teraa
Joe Tilson
Jean Tinguely
Rirkrit Tiravanija
Marco Tirelli
Christian Tobas
Mark Tobey
Nicola Toffolini
Luis Tomasello
Fiorenzo Tomea
Riccardo Tommasi Ferroni
Timothy Tompkins
Stanley Tomshinsky
Fernando Tonello
Jorrit Tornquist
Niele Toroni
Mimmo Totaro
Kazuko Toyofuku
Tomonori Toyofuku
Angelo Tozzi
Mario Tozzi
Antonio Trotta
Valeriano Trubbiani
Tuan
Nguyen Tuan
Giulio Turcato
Patrick Tuttofuoco
Tv Boy
Cy Twombly
Josep Ucles Cifuentes
Gunther Uecker
Vittorio Ugolini
Giuseppe Uncini
Ursula
Maurice Utrillo
Franco Vaccari
Sergio Vacchi
Tino Vaglieri
Valentino Vago
Italo Valenti
Giovanni Valentini
Nanni Valentini
Walter Valentini
Mateo Van De Heuvel
Ger Van Dyck
Jan Willem Van Dyken
Ernest Van Leyden
Serge Vandercam
Gregorio Vardanega
Grazia Varisco
Victor Vasarely
Nico Vascellari
Ben Vautier
Emilio Vedova
Vladimir Velickovic
Mario Velocci
Bernar Venet
Jùlia Ventura
André Verdet
Alessandro Verdi
Marcel Henry Verdren
Angelo Verga
Jef Verheyen
Arturo Vermi
Claudio Verna
Luigi Veronesi
Dany Vescovi
Renzo Vespignani
Claude Viallat
Vinicio Vianello
Lorenzo Viani
Simonetta Vigevani Jung
Nanda Vigo
Roger Vilder
Emilio Villa
Giorgio Villa
Jacques Villegle’
André Villers
Franco Viola
Antonio Virduzzo
Cristina Volpi
Renato Volpini
Wolf Vostell
Wal
Andy Warhol
Gillian Wearing
Lawrence Weiner
Simona Weller
Tom Wesselmann
Franz West
Minor White
Ludwig Wilding
Adolfo Wildt
Joel- Peter Witkin
Roger Wittevrongel
Francesca Woodman
Maurice Wyckaert
William Xerra
Helidon Xhixha
Amy Yao
Jose’ Maria Yturralde
Yvaral
Leon Zack
Piergiorgio Zangara
Guido Zanoletti
Romano Zanotti
Giorgia Zanuso
Gianfranco Zappettini
Michele Zaza
Franco Zazzeri
Giancarlo Zen
Robert Zeppel – Sperl
Dali Zhang
Giuseppe Zigaina
Helmut Zimmermann
Carlo Zinelli
Valentino Zini
Gilberto Zorio
Carmelo Zotti

WPC Best of Nations 2023

JOHN MAKRIS, GREECE-WPC Best of Nations 2023
JOHN MAKRIS, GREECE - WPC Best of Nations 2023

WPC Best of Nations 2023

The WPC was founded in 2013 as a cooperative effort by The Federation of European Photographers (FEP) and Professional Photographers of America (PPA). Its singular goal is to unite photographers in a spirit of friendship and cooperation. A Governing Committee has been created to conduct the ongoing affairs of the competition, also supported by the UAPP (United Asian Professional Photography). The brotherhood and sisterhood of photography is a bond that transcends language, culture, and geography. That’s the foundation behind the World Photographic Cup, a one of a kind international team competition.

Despite the recent difficulties due to the pandemic, the WPC has been held continuously every year, and we are pleased to announce
that the WPC 2023, edition number 10 of this unique and inimitable competition is open.

Dates and Timeline WPC 2023

  • Registration of Entries opened: July 1st, 2022
  • Registration of Entries closed: October 15, 2022
  • Judging opened: November 2022
  • Judging closed: 25 November 2022
  • Finalists and Best of Nation Award will be announced at Imaging USA 2023 (January, 2023)
  • Winners will be announced at the WPC Awards Ceremony in Singapore on March 17, 2023

Categories 2023

Introduction

The governing Committee of WPC is constantly looking at entries and categories that reflect the ever changing perception of images and also respecting the core roots of photography. In the 2023 competition there will be two new categories described below. Also for the 2023 competition we are presenting a visual guide to category descriptions to assist in your image selection. The goal is to avoid confusion or having images challenged due to interpretation of the English language descriptions. This year (2023) will see two categories split into two making a total of 8 categories.

Nature Categories

The Nature Category will now recognize Wildlife (wildlife in their NATURAL habitat) and Landscape (scenic) images. In the wildlife category images must be in the animals natural habitat. The Portrait category will also be split defining images that reflect the natural appearance of subjects and Illustrative Portrait images that are more illustrative and highly manipulated.

Nature/Landscape

This category is for photography that is devoted to displaying natural elements such as landscapes, cityscapes, plants, flowers, trees and close-ups of natural scenes and textures. Aerial, macro and astrophotography are included in this category. It is allowed to crop, rotate, selective dodging and burn, reduce noise, sharpen, adjust colour/black-and-white, apply grain and minor cleaning jobs like removing sensor dust or chromatic aberration. It is also allowed to combine several photos to one (photo stitching, focus stacking, multi-exposure, etc), shot at the same time and on the same place as a consecutive sequence, seconds or minutes apart). It is NOT allowed to add, delete or move elements by cloning, healing, patching, content aware fill, liquify or similar tools. The original captured image (in RAW or jpg) must be available if requested by the WPC.

Winners:

Team Australia : Forough Yavari

Team Austria : Marcel Egger

Team Belgium : Ann Coppens

Team Brazil : Luciano Honorato

Team Canada : Jo-Anne Oucharek

Team China : 欧 东欣 Dongxin Ou

Team Costa Rica : Mario Wong

Team Czech Republic : Petr Jan Juračka

Team Denmark : Lars Roed

Team Ecuador : Sebastián Rodríguez

Team Finland : Risto Raunio

Team France : Peter Lippmann

Team Greece : JOHN MAKRIS

Team Guatemala : Maria Fleischmann

Team India : Ambika Agrawal

Team Ireland : Sean Curtin

Team Italy : Alessandro Grasso

Team Japan : Kazutoshi Kawakami

Team Malaysia : KHAICHUIN SIM

Team Mexico : Eduardo Gómez

Team New Zealand : Amber Griffin

Team Norway : Tone Balslev Haugerud

Team Pakistan : Abdul Baqi

Team Panama : Javier Alejandro Solis

Team Philippines : Christopher Magsino

Team Portugal : Luís Bento

Team Singapore : Teo Chin Leong

Team Slovakia : Marián Kuric

Team Spain : MERCHE LLOBERA RODRÍGUEZ

Team Sweden : Niklas Englund

Team United Kingdom : David Keep

Team United States : Ben Shirk

Teams 2023

New Paintings by Alexander Peters 

alexander-peters-chasing-the-sun-visu-contemporary-7771

Visu Contemporary to Exhibit New Paintings by Alexander Peters 

Mar 18-Apr 08, 2023 — Opening Sat, Mar 18 – 6-8 PM 

Visu Contemporary is thrilled to announce In Pieces, a solo exhibition of new paintings by contemporary abstract artist Alexander Peters. The exhibit will be on display at the gallery from March 18th to April 8th, 2023, with an opening reception on March 18th from 6pm to 8pm. 

In Pieces features a collection of striking, large-scale and smaller works which blur the boundaries between abstraction and representation. Through bold brushstrokes, rich textures, and intricate layering, Peter’s works invite viewers to explore the nuances of color, shape, and form. The paintings are a testament to Peter’s talent for creating dynamic and immersive visual works which challenge our perceptions and stimulate our senses. 

“The artistic vision for the journey of the show is rooted in the grid, and the distortion and break-down of that rigid pattern of construction. Linear lines and this lattice framework exist all around us, particularly in urban environments, architecture, technology, even dance, but imperfections infiltrate these designs through various circumstances. Whether via urban decay, natural erosions, visual deceptions or by other means — these structures become broken, or ‘in pieces’ and take on a new life. Grids can also be seen as a metaphor for the way we perceive the world around us, as we often try to impose order on the chaos of our experiences. But that chaos persists, regardless of our futile attempts to remove it,” said Peters. “Alexander Peter’s paintings are a true celebration of the medium,” said Visu Contemporary’s  Owner, Blake Pearson. “His work is a perfect blend of emotion, energy, and technique, and we are elated to showcase it at Visu Contemporary.” 
Peters is a rising star known for his fearless experimentation and willingness to push the boundaries of the medium. With an insatiable need to paint almost every day, Peter’s works develop over the weeks and months by creating shapes, forms and textures with each new layer of paint. Abstract landscapes seem to inadvertently emerge from his canvases, however there is no specific point of reference other than the intuitive actions and choices that Peters makes in the process of creation. 

Concurrently a Principal Dancer for Miami City Ballet, Peters on stage exudes an exquisite charm – a sort of lightheartedness mixed with a dash of mischief, all carried out with the self-assuredness of a king. A recipient of a Princess Grace Award and the Mae L. Wien Award, Peters is a critically acclaimed American dancer. 
In Pieces is a must-see exhibition for anyone interested in contemporary abstract art. Don’t miss your chance to experience the power and beauty of Alexander Peter’s paintings. 


For more information about In Pieces and other upcoming exhibits at Visu Contemporary, please visit www.visugallery.com


Visu Contemporary is an artist first gallery where emphasis is placed on quality and presentation. VISU Contemporary’s mission is to contribute to the art history canon by presenting provocative and inclusive exhibitions, projects, installations, collaborations and performances with the goal of making each exhibition a must-see, while inspiring curiosity and intrigue from every visitor. 


Alexander Peters: In Pieces 
VISU CONTEMPORARY 2160 Park Avenue, Miami Beach 
Opening – Meet the Artist – Mar 18, 2023 – 6-8 PM 
Mar 18-Apr 08, 2023 
Contact: 
Blake Pearson 
Visu Contemporary 
305-496-5180 
[email protected]

La crítica de arte y su próxima desaparición

El oficio como curador de arte
El oficio como curador de arte

La crítica de arte y su próxima desaparición

Iván de la Nuez

Es tinta y, en breve, extinta.

Si no aparece pronto un antídoto potente, este es, a corto plazo, el destino de la crítica de arte contemporáneo. Entre la multitud de indicios, un ejemplo reciente: varios artistas son interpelados sobre el papel de la crítica en la validación de sus respectivos trabajos. Y las respuestas de, entre otros, Carlos Garaicoa, Joan Fontcuberta o Eulalia Valldosera, no pueden ser más desoladoras. Para la legitimidad de estos creadores, la importancia de la crítica resulta casi nula. Lo más inquietante de sus argumentos no es, sin embargo, su beligerancia sino su condescendencia; el modo en que pasan la mano por la cabeza a esa innecesaria (y menor) compañera de viaje.

Que la crítica, salvo excepciones, ocupa el último lugar en la jerarquía del actual sistema del arte -por debajo de directores, coleccionistas, comisarios y artistas- no es, precisamente, un secreto. Al extremo de que lo alarmante no está en la proximidad de su extinción, sino en la indiferencia conque esta sería recibida. Pocas veces un género -o como quiera que le clasifiquemos- hizo coincidir con tanta fruición su propensión a suicidarse con las intenciones de exterminio que le acosan desde el exterior.

Hay un conjunto de temas gremiales que explican parcialmente esta crisis. Que el trabajo de los críticos alcanza una escasa notoriedad y un limitado acceso a los circuitos pedagógicos. Que la mayoría de discursos circulan al interior de la tribu, en catálogos que sólo leen los entendidos. Que la presencia en los medios de comunicación es insignificante. Que en Internet y sus blogs son mucho más importantes las noticias, opiniones y comentarios sobre ella que la crítica propiamente dicha. Que el mercado profesional, con su tapón generacional, depara un multiempleo de supervivencia donde el crítico suele ser, al mismo tiempo, juez, parte, sospechoso y culpable. Que la propia crítica contemporánea rebasa, y refuta, la tesis del artista como genio, mientras que los escritores de renombre que se aproximan al arte, con todos los medios a su disposición, persisten en la idea romántica del aura. Que el arquetipo de curator de éxito, en el que se fijan las nuevas generaciones, no ha necesitado una obra escrita para llegar a lo más alto y sufre una alergia crónica al ISBN…

Dicho esto, tal vez valga la pena una previsión: cuando aquí se habla de la crítica de arte afiliada a lo escrito -tinta de la escritura y de la impresión- no se trata de una caprichosa sobrevaloración de lo literario. Simplemente, obedece a que la crítica, todavía, sigue siendo el puente entre la cultura visual y la cultura escrita. Enlaza el arte con la literatura y, aún más importante, es el nexo ideal entre el arte y la lectura. En este punto, vale la pena preguntarse si los críticos hoy gozamos de lectores. Y, también, si gozan hoy los lectores con los críticos. La rotundidad del “no” a estas dos preguntas desborda cualquier queja de tipo sindical y revela un manojo de carencias intelectuales que alientan desde dentro a esta situación.

No es posible exigir un lugar bajo el sol atizando frases tales como “táctica curatorial”, “dinámica procesual”, “enjambre dialéctico”, que configuran un lenguaje de secta, muy parecido a ese que tanto abunda entre los forenses de CSI, o entre el doctor House y sus colaboradores.

Ante la hecatombe, Hegel. Decía el filósofo, y sostiene Agamben, que el artista es el “hombre sin contenido”, porque es capaz de ir “más allá” del propio arte y desaparecer más allá de sí mismo. En sentido contrario, tal vez valga la pena experimentar la crítica como una zona marcada por el contenido sin hombre. Como un camino propio que, sin renunciar del todo al artista, no se detendría absolutamente en las tareas de su legitimidad, ni en tanto que garantía de su lugar en el mundo, ni como balanza de su grandeza. Puestos ya a no ser necesarios, los críticos podrían ensayar (en la dimensión literaria de este verbo) la fortuna eventual de conseguir una autonomía intelectual “más allá del artista”. A fin de cuentas, si existen y triunfan artistas sin crítica, el ensayo nos regala la posibilidad de concebir, llegado el caso, una crítica sin artistas.

Esa eventualidad cuenta con ejemplos fructíferos. Pensemos en Henry James, Oscar Wilde, Edith Warthon, Gilbert K. Chesterton, Paul Auster, Don Delillo, Roberto Bolaño, César Aira o Enrique Vila-Matas. Cuando no les han convenido los creadores “realmente existentes” para hacerlos intervenir en sus obras, se los han inventado. Y no por ello constatamos alguna merma en la utilidad crítica que activan sus libros. ¿Qué son autores de ficción? Esto es muy relativo, sobre todo porque no parece que el principal malestar de la cultura contemporánea provenga de lo que concebimos como ficción sino de aquello que percibimos como verdad. Con toda su acreditada fantasía, ninguno de esos autores ha imaginado una ficción tan gigantesca como las famosas armas de destrucción masiva, o como el alegato de Noam Chomsky -ese martillo de todas las mentiras de este mundo- cuando afirmó que las matanzas de Pol Pot eran exageraciones del New York Times.

En todo caso, hay ejemplos de ensayistas que nos sitúan en otra frontera y expanden sus argumentos creativos por caminos liberados de cualquier corset. Ajenos al estudio acabado y bien cerradito que no duda en poseer la verdad, sólo la verdad y nada más que la verdad; con su drama griego de andar por casa y su correspondiente triada de planteamiento-nudo-desenlace, los ensayos más fértiles -entendidos como los fundó Montaigne- se resisten a ser encapsulados como non-fiction. Esta clasificación industrial, conviene sin duda a las editoriales, las academias universitarias y los suplementos culturales, pero tiene poco que ver con la promiscuidad que despliegan las creaciones contemporáneas. Así, George Bataille es capaz de escribir un libro, La oscuridad no engaña, que “no se dirige a los hombres cuya vida no es interiormente violenta”. Eliot Weinberger, en Rastros kármicos, fecha un artículo de apenas cuatro páginas entre 1499 y 1991, a la vez que define a Islandia como “la sociedad más perfecta del mundo, de la cual ninguna otra tiene nada que aprender”. Vázquez Montalbán, en sus crónicas bajo el seudónimo de Jack el Decorador, consiguió renovar la crítica de diseño desde unos episodios que eran, al mismo tiempo, un libro de crítica, la antología de unos pequeños tratados de frivolidad, una novela negra y, finalmente, la parodia de todo eso. Severo Sarduy entrevé una aventura carnal en Barroco para abrir un sendero inédito entre la cultura barroca y la postmodernidad. Un académico como Roger Bartra incorpora viñetas y diálogos imaginarios en La jaula de la melancolía, su pionera interpretación de la modernidad mexicana. Por la parte que le toca, en Deseo de ser piel roja, Miguel Morey nos propone… Bueno, este cada cual tiene que leerlo sin brújula porque no se puede describir, ni sintetizar, ni escolarizar y ahí radica, intacta, gran parte de su virtud.

Estos y otros ejemplos ensanchan el horizonte de tal manera que rompen los prejuicios a la hora de asumir como ensayos formatos que están fuera de la literatura en su sentido convencional. Exposiciones como Lo que ocurre, basada en la teoría de los accidentes de Paul Virilio, o Comunidad, de Pedro G. Romero, cumplen con los rigores de un ensayo visual en toda la línea.

El ensayo crítico, especialmente el artístico, puede ser entendido en su aserción teatral: es una aproximación previa e imperfecta a una realidad que no está constituida del todo (no es todavía la “función real”). Más bien, sus tareas están encaminadas a armar los planos de un escenario futuro, a una posibilidad por venir.

Ensayar sin complejos desde, por y más allá del arte no parece un mal remedio para esa crítica que hoy deambula como una especie en peligro de extinción. Sin conceder la menor importancia a las cápsulas que la encierran en un género, un gueto sin salida y desde el que sus enunciados importarán siempre un pimiento.

Y eso que, bien mirados, los pimientos tienen su importancia. Los del padrón, por ejemplo. En el ritual de comerlos, te la juegas y avanzas hasta que ¡pum!, aparece uno por sorpresa que pica y cambia las percepciones preconcebidas. A unos les disgustará, pero hay otros que, secretamente, no han buscado otra cosa que ese accidente y ese ardor para asomarse el precipicio.

Última lección de un ejemplo prosaico: tanto en el sentido del sabor como del conocimiento, a veces una buena crítica está obligada a saber mal.
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Publicada en El País en diciembre, 2007.

Sobre el crítico de arte

La importancia del crítico en el mercado del arte
La importancia del crítico en el mercado del arte

Sobre el crítico de arte

Reseñar una obra o hacer la parodia sobre un texto, no es crítica. El crítico de arte que se asume como tal, escribe o habla sobre el producto artístico y sus creadores, lo hace valiéndose de una valoración estética, basándose en la historia del arte y sus disciplinas.

Mínimo tendrá que tener un ojo ya entrenado en la observación de obras en cualquier periodo y un hábito de lectura. En su labor selecciona, compara  y emite juicios de labor, no hace escritos para quedar bien con el artista remitiéndose simplemente a producir textos curatoriales.

Se le considera a Denis Diderot (1713-1784) como el padre de la crítica de arte. Sentó las bases en salones abiertos al público, que en ese entonces, actuaban como centros para la difusión de artistas y obras, propiciando modas y gustos, por lo que fueron punto de crítica y debate. Diderot escribió sus impresiones sobre estos salones arriesgándose a proponer y comentar lo que a muchos les parecía bien.

No existe una carrera o maestría en crítica de arte. En la actualidad algunas escuelas ofrecen licenciatura en curaduría y gestión en arte. Ser  curador cada día se pone en boga, deciden qué se expone, cómo debe ser una museografía, establecen conexiones con museos y centros culturales, formulan catálogos y aún más adquieren el papel de críticos.

El crítico además de ser un observador, arriesga. No es monedita de oro y tampoco tiene la última palabra en estos menesteres. Las argumentaciones son las que cuentan y sobre todo depende del color del cristal con el que se mire.

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