Artista dominicana hace llamado de alerta sobre el ‘bullying’ y la violencia

Elena Iglesias

La artista Iris Pérez Romero con la presentadora de Univisión Teresa Rodríguez en la inauguración de la muestra en el edificio Newsport de Univisión/Noticias. CORTESÍA CÁNDIDA PÉREZ

La artista visual dominicana Iris Pérez Romero propone una reflexión sobre los distintos tipos de violencia a los que están expuestos los niños y adolescentes en los hogares, las escuelas, las calles y en las redes creadas por la tecnología. Este es el foco de la muestra individual Bullying, Grooming and Sexting -un llamado de alerta a través del arte-,que presenta en el edificio Newsport, de Univisión/Noticias, en Doral.

“Estoy tratando de asumir lo súbito de mi mirada en el mundo, y ese mirar en el mundo es el temblor de la caverna que tenemos todos, porque necesitamos volver a despertar las dudas que trae nuestro destino. Y eso se manifiesta en la creación, igual que en la conciencia de los pueblos”, dice la pintora, que es la primera artista en exhibir sus obras en la sede de los nuevos estudios de Univisión.

Para Pérez Romero, el motivo central de su muestra, auspiciada por el grupo Orgullo@UCI, es establecer un canal de conexión entre las obras creadas y las personas que tengan contacto con estas, para que las lleve a la reflexión, ya sea durante la exhibición o por las imágenes colocadas en los blogs, diseñados para continuar con ese proceso de conexión.

“Los niños, por su edad, son vulnerables, y esto los hace propensos a ser víctimas de lesiones y abusos por las distintas vías que toco tanto en esta muestra como en obras creadas en épocas anteriores. La falta de información y de concientización que existe en muchos países hace que, en vez de disminuir, los casos vayan en aumento, generándose más violencia. A esto se suman las nuevas formas de violencia creadas a partir del crecimiento de las redes tecnológicas”, afirma.

La artista dice no recordar ninguna etapa en su proceso de creación en la que el contenido social no marcara las pautas a seguir, “tanto cuando he tenido que hablar de las sombras, como de los estados de luz”.

Pérez Romero considera que estos son males que unen a todas las culturas, y a los distintos estratos sociales, ya que los síntomas que surgen como resultado de ser abusado y violentado son los mismos en todos los seres.

“La muestra está dirigida tanto a mi país, República Dominicana, que debería tener una mejor plataforma, creada para que se oriente y se trabaje con estos temas, como a países donde todavía existen tasas muy altas en casos de violaciones, trata de seres, matrimonios a muy temprana edad, embarazos en niñas y adolescentes, prostitución infantil, raptos, el crecimiento de acoso por las redes tecnológicas, discriminación y marginación por distintas razones”, enfatiza.

A la pintora le interesa mucho todo lo que afecta a los seres humanos y su entorno, tanto lo que los conmueve negativamente, como lo que los rodea de paz. “El acoso y también la discriminación, que trata profundamente esta muestra, son parte de las problemáticas globales que han impedido una mejor coexistencia, ya que han existido y siguen existiendo en numerosas culturas. Muchos seres no solo son acosados sino discriminados solo por el hecho de nacer mujer, por su preferencia sexual, por factores económicos, de raza y religión: una lista interminable”, manifiesta.

Pérez Romero, además, va a inaugurar la exposición Hija del sol el 28 de mayo en Madrid, España. “Allí intento llevar a la reflexión sobre la importancia de la luz en nuestras vidas; el derecho que tenemos a vivir en paz, tener educación, libertad, amor, vivir con equidad. Hija del sol representa la decisión de que, a través de nuestras energías y otras que recibimos, seamos parte de los cambios que necesita este planeta para una mejor coexistencia”, adelanta.

Aunque se recuerda desde muy niña con un lápiz en la mano, ya a partir de las herramientas adquiridas en las escuelas de bellas artes y la universidad, los personajes que la acompañaron desde su niñez fueron consiguiendo una madurez fruto de sus vivencias creativas. En ese momento comenzó a presentar sus obras en exhibiciones y proyectos de arte.

“Me he caracterizado por ser una creadora multidisciplinaria, ya que no tengo fronteras al crear; dibujo, pintura, obra gráfica, escultura, instalación, cerámica y la combinación de medios mixtos son las vías por las que he podido desarrollar mi proceso. Lo que hago son recreaciones de la esencia del ser en la naturaleza, por las distintas manifestaciones, y así construir la memoria que somos desde la eternidad”.

‘Bullying, Grooming and Sexting’, de Iris Pérez Romero, en el edificio Newsport de la cadena Univisión, 8551 NW 30 Ter. (NW 87 Ave.), Doral, Hasta el 23 de mayo, http://irisperezromero.blogspot.com/

Source: https://www.elnuevoherald.com/noticias/sur-de-la-florida/article21426285.html

EXPOSICION

Arte y reflexión

La artista dominicana Iris Pérez ha asumido la misión de crear conciencia a través de sus obras con la muestra “Bullying, Grooming and Texting”, presentada en el edificio de la cadena televisiva Univisión en Newsport, Estados Unidos desde el 23 de abril hasta el 23 de mayo de 2015.

Bajo el auspicio del grupo OrgulloUCI, y las comisarias Leilani Garrido, Elisabeth Cotte y Cándida Pérez, este trabajo consiste en una colección de dibujos y pinturas que abordan temas que afectan de manera negativa a niños y adolescentes tales como el acoso y la intimidación. 

¿Cómo empieza a trabajar en el arte?
Al mirar hacia atrás,  en el medio de la convivencia con mi familia,   me recuerdo con un lápiz en la mano.   Personajes que afloraban en las paredes y en las hojas de los cuadernos de la escuela que hoy siguen apareciendo en mi proceso creativo con otros vestidos. Las enseñanzas técnicas aprendidas en la Escuela Nacional de Bellas Artes  y la UASD posibilitaron que continuaran su existencia.  Pero ese impulso que me llevaba a crear,  es el mismo que años atrás,  esa voluntad que originaba que esos seres fueran parte de mi universo continua hasta hoy intacta, entonces mis vivencias  creativas iniciaron desde que tengo existencia. 

¿Qué motiva a Iris Pérez a crear?
La oportunidad de fundir materia y espíritu a través de las vivencias  que te da el poder crear. Para mí todo lo que se materializa en el arte fluye a partir de estas experiencias, que son un resultado también de experiencias externas y la memoria que te remonta al pasado. 

¿Qué tan importante es el arte para República Dominicana?
Es básico, importante, necesario para cualquier pueblo y lo ha sido siempre, demostrado desde los registros que nos muestran cómo era la vida, por dibujos hechos por la mano de hombres y mujeres  encontrados en las cavernas.  Los artistas han sido capaces de enfocar realidades que han producido grandes cambios en la existencia humana. La República Dominicana no está exenta del aporte que han hecho los creadores para construir lo que hoy somos como  país, y de lo que será su desarrollo futuro. Aunque nuestros gobernantes hayan olvidado su importancia. 

¿El hecho de ser mujer le hace tener una visión diferente del arte?
Las vivencias que tiene un ser por medio a los procesos creativos no tienen  nada que ver con género.  Lo que importa es el alma y como esa alma es apta para recibir y dar a partir de los momentos vividos. Aunque solo el hecho de ser mujer me da una visión radial de ver la vida y así lo asumo, como la visión que han tenido nuestras madres;  de mi madre aprendí muchas cosas que hoy se reflejan en mi obra.  Pero la palabra “género”, muchas veces se usa cuando se plantean divisiones y estas divisiones  históricamente han violentado la existencia de los seres humanos por un asunto de poder y falta de equidad, ya que nuestros pueblos  han hecho hasta lo imposible por no salir de una sociedad  patriarcal, que trae muchas injusticias. 

¿En qué consiste la exposición Bullying, Grooming and Sexting?
Es un  llamado de alerta través del arte,  nos lleva a reflexionar sobre  la violencia a la  que  están  siendo expuestos nuestros   niños, niñas y adolescentes tanto en los hogares, las escuelas, como las generadas a través de las plataformas creadas por las redes tecnológicas.  

Trata también sobre la falta de equidad e intolerancia entre los seres humanos, ya que en muchas culturas personas están siendo acosados y discriminados  solo por el hecho de nacer mujer, por preferencia sexual, por factores  económicos,  raza,  religión; y esta es una lista interminable.

Usted es profesora de arte, ¿qué tanto interés tienen los jóvenes de RD en las artes?
Mucho, en especial en los últimos años.  Si te hablo de los jóvenes de la Escuela Nacional de Artes Visuales, donde imparto clases, están pasando cosas muy interesantes;  se están uniendo en grupos participando de forma conjunta desde sus primeros años de escuela, creando proyectos independientes que han puesto en marcha y han continuado estudiando, están saliendo a las calles a crear, eso es importantísimo para la sociedad.  

¿Qué tan importante es, para un artista dominicano, salir de la isla?
Es importante salir a cualquier lugar que te enriquezca culturalmente.  También son muy importantes  las vivencias en lo interno de la isla, la relación con nuestros recursos, nuestras raíces, nuestro pueblo, la familia, engrandece el proceso que vivimos.  Ahora la travesía más determinante es  el viaje al interior de nuestro ser. 

¿Qué otros planes tiene Iris Pérez?  
Seguir existiendo.  Continuar con mis reflexiones  y vivencias  a través del arte.  Aunque  todavía no termina esta ruta del 2015 que inicio con la muestra colectiva  Alta Gracia, ya que el 28 de mayo se inaugura mi primera muestra individual en Madrid, España.  La comisaria de la exhibición es Almudena Ríos y la muestra se realizará en Brininvest (Bridge International Investments) del Grupo ByBossy & Partners.

Tengo a la vez varios  eventos colectivos internacionales ya confirmados  durante el transcurso del año.

La artista Iris Pérez Romero posee varios logros entre ellos haber sido seleccionada en el 2004 por la organización ARTIADE para representar al país en las olimpiadas del arte, con motivo a los Juegos Olímpicos “Atenas 2004”. Desde el 2000 participa en la muestra Women of the World, con una ruta itinerante en diferentes museos, galerías y centros culturales del mundo. Fue seleccionada para representar el país en las IV y V Bienal Internacional de Arte de Beijing, en el Museo Nacional de Arte de Beijing, China, durante 2010 y 2012. A partir del 2011 realiza el Monumento escultórico Luz del Mundo, en Santo Cerro, La Vega, comisionada por el Ministerio de Turismo.

Entrevista por Indhira Suero

Source: https://listindiario.com/ventana/2015/05/24/368294/iris-perez-arte-y-reflexion

Perez Art Museum PAMM

The curated project is part of the FOCUS section dedicated to Latin American Art

Participant artists: Stella Bernal de Parra, Muu Blanco, Karim Borjas, Humberto Castro, Jorge Cavelier, Sonia Falcone, Fernanda Frangetto, Alberto Gómez, Marcela Marcuzzi, Lydia Rubio and Gladys Triana. The word “creation,” “the act of creating or making something exist; created thing, that which is created,” comes from the Latin creationem: “a creation, a production.” In the Book of Genesis, it is equivalent to the formation of heaven and earth, and everything they contain. But its meaning also encompasses the invention of culture: everything that human beings, makers created “in the image and likeness” of God, make with their own art and skill. We are not just Homo faber: we are the species that creates by imaging, adding to what already exists something that was not there before, or, paradoxically, razing the world. The creation-destruction duality transcends cultures and religions, and ultimately refers to human responsibility. Creation gathers a set of works in different media by Latin American artists, reflecting on the way we get in touch with the created world that is our environment. In these works as a whole we may find, as in the days of Genesis, the appearance of light, water, skies, land, vegetation, moon, sun, stars, animals, male and female, but above all, the dilemmas of freedom in the face of natural and artistic creation in this land outside of Eden.

Sonia Falcone (Bolivia, 1965) painted The Creation (2009-2020) to evoke the Book of Genesis as a “mandala” or sacred circle. The light of the first day —which marked, through its separation from the night’s darkness, the beginning of time— is represented by a white central circle around which new circles emerge, formed by triangles of tenuous colors. Their material intensity increases as the dimensions of the work expand, but each seventh day is marked by a circle of golden triangles. A second visual perception is provoked from the whole as optical intersections irradiate the astounding geometry of the world. The work seems to reverberate. But the irruption of chaos in the form of a scratch made by human hands happened during an itinerancy move. Falcone assumed the wound, restoring it and asserting that, strangely enough, it was a way to complete one of the her rare works that did not contain, below the surface, an allusion to the collective pain brought about by the destruction of the common home that is the planet. The Creation originated a series of iconic worlds, like Color Fields, 2012, a geometric installation with colorful cones formed with minerals salts and aromatic spices celebrating geographic and cultural diversity around the world. The piece has traveled extensively after its display in the 55th Biennale di Venezia, and one version was acquired by the Nevada Museum of Art after being exhibited in Unsetled, 2017, organized by JoAnne Northrup, with Ed Ruscha as collaborating curator.

Fernanda Frangetto (Brazil, 1976) constructs the gesture of raising water with beeswax. Following the fluid motion of her own hands, she molds their curled marine shapes in pursuit of “the art of a tri-dimensional stroke.” Sculpted in bronze, the waves sustain the living fluidity of this element whereupon the Spirit of God moved before anything else existed. In her sculptures, she gives different tonalities to the waves, through plating processes, alluding to the contrast between the life-giving ocean and the seas polluted by human madness that have cause an infinitude of organisms to succumb. Her raised waves are a language that closes the abyss that separates us from nature.

The earth appears in the work of artists that have kept in their paintings an unwavering relationship with the landscape. Jorge Cavelier (Colombia, 1953) believes that the landscape exists because there is an observer beholding it. In his circular forests, cut with laser on metal, the groves are infinite and the emptiness in their center locates the vision of an awakening: we are all invited to return to the experience of beauty evoked by John Keats in his famous poem: “Therefore, on every morrow, are we wreathing/ A flowery band to bind us to the earth.” Each circular forest is formed by a double set of metallic groves suggesting the visual possibility of rotation or change. They possess neither obverse nor reverse as such, and to see the totality of each image the spectator must move around them. His paintings carry with them not only the vision of the natural world that dazzled him in his childhood, when he got up to see the countryside awakening, “as if it had just been created,” but also the teachings of such masters as Turner, Monet, or Klimt, whose techniques allowed him to create, instead of geographically referential sceneries, “contemplative atmospheres.” It is a landscape inseparable from the ontological territory of being and the self-reflective process of artistic creation.

The work of Lydia Rubio (Cuba, 1946), also a profound connoisseur of art history and techniques, is inseparable from the landscape, a “forbidden” genre, as she explicitly writes in a work, but deeply inscribed in conceptual exercises. Creation features a polyptych of six paintings featuring skies, waters, land, and vegetation. Each one is identified with a letter from the alphabet, in such a way that they can be displayed in different combinations, forming two Spanish words: “imagen” (image) or “enigma.” The latter “is written the same way in many languages,” she claims. In the diptych Series Savanah, # 1 and 2, 2014, fragmented panoramas are inscribed in a changing format. It is not only the circle-square sequence or vice-versa, disposed in an order opposite to the title (2-1), suggesting the possibility of changing the sequence and interrupting continuity, but also an inquiry into the relationships of the contained and subtracted that points back to the landscape as a territory of thinking.

From Stella Bernal de Parra (Colombia, 1933), one of the great pioneers of textile art in Latin America, Creation includes the masterly Eclipse Solar, 1980. The hanging piece, one of the first to incorporate copper “lines” to the wrap, represents in its double face day and night. It has been weaved in such a way that segments of very fine, frayed cloth emerge from the interior of the virgin wool, creating translucent sections. Besides the beauty of her structural design, Bernal de Parra manages to bestow a kinetic quality on the textile: depending on the spectator’s position, the circular form, built by the copper warp interlaced with the wool, simulates either a full moon or the sun—if looked from one side or the other—for it is either darkened or enlightened. The work pays homage to humanity’s arrival on the moon, but also evokes the sacred relationship with the cosmos of ancient pre-Columbian cultures.

In the installation, Moon Phases, 2017, Marcela Marcuzzi (Argentina, 1970) proposes a journey to the lunar landscape that requires a magnifying glass to appreciate the details of the unknown topography, which science once envisioned as the Lacus Somniorum (Lake of Dreams). She knows that the lake is actually a plain located in the northeast of the visible side of the Moon, but she also knows that landscapes are a history of sightings. Although her drawings on cotton paper are inspired by actual satellite images, she takes the liberty to insert fantastic images related to the imaginary moon that nurtured remote mythologies. Fragments of sand, delicate interventions with drawings, and gauzes and other wraps, Swarovski crystals, sand, and even sewn photographs, recreate an iconography that encompasses the real Moon as much as the artist’s subjective poetics in a polyptych with eight boxes treasuring the lunar phases. Also circular are the organic forms conforming the complementary series Boundaries (inspired by micro-universes). Marcuzzi plunges into the representation of cellular organisms, astonished by the biological mystery of life they represent as much as by the fact that they can mutate and destroy it. “It is an immersion ─she states─ into the liminal area that separates opposites: sanity from madness, life from death, creation from destruction.” She intervenes its forms conjugating science and art while meditating on its parallelism with human frailty. The extremely delicate poetics built with transparent gauze, a ductile material related to wounds and healing, or with fragile threads piercing the surface when she sews or adheres fragments, is driven by a meditation on the corporeity that constitutes us. Her work is, of course, an inquiry on the ultimate questions. “I am interested in the visceral as much as in the revelation. By approaching the macro and the micro I speak of God and His creation,” she points out.

On the other hand, in Yellow Garden I and Yellow Garden II, 2019, Humberto Castro (Cuba, 1957) paints the shading, red bodies of a man and a woman, alone and naked—one on each side of the diptych—in a garden that is not Eden but remind us of it. Or rather remit us to the lost paradise of Eastern and Western mythologies—in the Sumerian Gilgamesh, the fruit of the tree of life is stolen by the snake—like, for instance, in Expulsion from the Garden of Eden, 1928, by Thomas Cole. These new Adam and Eve by Humberto Castro have wings like angels, but are barely beginning to learn how to fly. The garden stretching on a vast yellow horizon is displayed without trails and the sprouts in the painting are intertwined with thorns. Not having found yet the secret of levity that would allow them to fly, they are surrounded by flowers, while in the feminine garden, where there is a dark bird which does not fly either, there are flowers as well as fruits as a remembrance and promise perhaps of an Eden of their own. The landscape in this new imaginative figuration has a double temporary condition: it inserts the archaic in the reflection of interiority in this land where nothing is as unknown as the human being.

A section of the curatorship is explicitly related to the representation of hands. In Michelangelo’s Creation of Adam, God’s stretched hand bestows the sacred beginning of life by touching the first man. But the hand of this newly created Adam is that of the artist himself, marked by the arthritis with which he fought while painting this immortal fresco. Drawn or painted countless times in art history, from rock art onwards, hands represent the power to create despite our being exposed to pain. They also refer to the healing or destruction that could be provoked by contact with the environment, or by touching the “tree of life,” as Diego Rivera wrote in Las manos del doctor Moore, 1940.

Following a tradition dating back to Hyeronimus Bosch, Tiziano and Caravaggio, among others, Karim Borjas (Venezuela, 1959) unties in his photographic installation the hands of Ecce homo (Christ presented to the crowd by Pilate), identifying them with those of the artist, stained with paint and adding a mythical, playful vital resource: an actual red thread. The piece, belonging to the Series El lado oscuro del Eden (The Dark Side of Eden) alludes to the human act of stretching this thread and choosing the bearing of either fate or an oeuvre. In a series of small-format photographs signaling her transition from painting to this medium, Gladys Triana (Cuba, 1934) portrayed her hands in the manner of a diary in planes referring to her environment. Though she inhabits the metropolis, she chose an image of greenery: the plants created before us. The world is already written, but she holds a white pencil to re-draw it. The trace of points left on the image of the natural world is a conscious statement that the landscape is a relational space in which we inscribe what we are. Also, visible and powerful are the hands of the indigenous musician portrayed on wood in Sin título (Los sonidos del silencio) by Alberto Gómez (Colombia, 1956). The eyes shut and the fingers playing an unseen instrument open our internal senses to the force of human creation. Muu Blanco (Venezuela, 1964) has been making a gestural diary, a series of abstract micro-paintings on which he loosely draws with markers on photographic paper lines that are as delicate as they are vital. He installed that painted journey in sheets on the wall as an exercise of creative reaffirmation of the power of the soft and subtle in uncertain times. In our hands is the responsibility of imagining the next day of creation—after all, we are co-creators of the world we share.

ALUNA Art Foundation Booth 532

Perez Art Museum PAMM

Hiperrealismo

“Membrillo”. Peter von Artens (1936-2003)
Aunque algunos especialistas insisten en diferenciar el hiperrealismo del fotorrealismo aduciendo aspectos poco convincentes, ya que la verdad parece ser otra, pues la mayoría de los artistas que se expresan a través de la hiperrealidad, se valen de fotografías para reproducir obras apegadas al más mínimo detalle del tema.
El hiperrealismo es una propuesta artística fría e impersonal. Donde lo verdaderamente importante es domeñar el reto que el tema plantea para su ejecución. Derivándose de ahí la admiración que produce en muchos espectadores que ven en en la supuesta hazaña verista un acto de magia o presdigitación, cuando sólo están ante la presencia de un objeto “artístico” realizado por alguien con un tremendo dominio del oficio.
En ocasiones el extremado realismo interpretativo produce un efecto contrario al deseado en el espectador, pues el artista hiperrealista, en su afán de lograr un parecido absoluto con el modelo, sobrepasa la realidad exagerando ciertos aspectos del tema que ni la vista es capaz de ver, ni la cámara fotográfica capaz de reproducir con la nitidez que aparecen en algunos de sus trabajos.
Cabe señalar que el hiperrealismo además de su capacidad de reproducir, magnificados y con pasmosa meticulosidad, objetos de nuestro diario entorno como coches, fachadas, azucareras, botellas de salsa de tomate, calles, etc. Es una manifestación artística que se sirve para la mayoría de sus temas, igual que su antecesor el arte pop, de objetos triviales producidos en serie. Además ejecutan elaborados retratos y paisajes de todo tipo.
El hiperrealismo es un arte esencialmente norteamericano surgido a finales de la década de los 60’. Algunos de sus más destacados representantes americanos lo son: Chuck Close, Richard Estes, etc. De otras nacionalidades se encuentran algunos de los más renombrados artistas hiperrealistas como el chileno Claudio Bravo, el argentino Peter von Artens y el español Antonio López García, por sólo citar unos pocos.
Roberto Cayuso

Perez Art Museum PAMM

¿Qué es la abstracción geométrica?

Esta es una de las formas del arte abstracto que utiliza formas geométricas colocadas en un espacio no ilusionista (aunque no siempre) y luego se combinan para formar composiciones figurativas (no objetivas). A partir de la experiencia y los resultados de muchos años de investigación en el campo del arte, los artistas han sugerido que el proceso de abstracción geométrica puede ser una solución para los problemas modernos, donde algunos artistas han venido rechazando las prácticas ilusionistas.Artwork by Francois Morellet

Perez Art Museum PAMM

AMERICAN ABSTRACTION SINCE ELLSWORTH KELLY MONDAY, DECEMBER 2, 2013 HOSTED IN ASSOCIATION WITH CHRISTIE’S IN HONOR OF ELLSWORTH KELLY’S 90TH BIRTHDAY FEATURING ARTISTS LYNDA BENGLIS, JULIE MEHRETU, ODILI DONALD ODITA AND FRANK STELLA MODERATED BY ROBERT STORR, CHAIRMAN OF FAPE’S PROFESSIONAL FINE ARTS COMMITTEE AND DEAN OF THE YALE SCHOOL OF ART.

Perez Art Museum PAMM

Art Palm Beach, APB, is an American international art fair that, for its 2020 edition, decides to direct its line of promotion and sales of established and emerging artists from all over the world, incorporating a permanent curatorial pavilion and a renewed Main session.

APB will offer visitors the opportunity to enjoy an expanded artistic experience based on research axes that provide readings on relevant constitutive aspects of society such as migration, diversity, environmental stability, relationships with the space we inhabit, culture, identity, and evolution.

The design of the curatorial pavilion will now allow to see works as a personal document on the interests, visions, and concerns of artists and photographers while the Main session adjusted new participation criteria.

From these premises, APB_2020 has decided to renew its commitment to artists, gallerists, collectors, and art enthusiasts, producing a complementary education and training program through the APB Power Talks. Composed of lectures by influential art professionals and associated disciplines, guided visits to students from local schools, community workshops, and the distribution of guidance guides for gallerists with business tips, museography, and marketing that will help them successfully boost their business plans. All activities of the APB_Power Talks program are free of charge.

The art ecosystem is not so distinguishable from the ecological system that artists operate during their creative processes. That is, both notions require connecting to a natural process of network-like flows to imagine, create, participate, and occupy the best places that will end in the competitive circuit of the international art market. In this sense, APB_2020 planned as a rewarding spectacle where exhibitors and collectors can establish new business strategies.

Lee Ann, APB creator, and director with her husband, David Lester, announced that Corey Hampson joined the project as Co-Director of APB_2020, which will enhance executive management at all levels to the organization. Aboard APB, Corey Hampson said: “I am pleased to work with the Lester who have been industry pioneers for more than 40 years in assisting dealers in developing a more creative, profitable, and innovative new approaches and opening new markets in the coming years.”

Furthermore, Lee Ann reported: “We are proud to announce, on the one hand, the inclusion of Azmara Club Cruises as the main sponsor of APB_2020, a company whose values are common to APB. Azmara Club Cruises represents a leading figure in the importance of authentic cultural immersion experiences and committed to environmental management. On the other hand, we are pleased to have the participation of Pietro Daprano as the Artistic Director of APB_2020 to guarantee the conceptual and production design of the event”.

Regarding this new alliance, it is worth mentioning the economic geography that APB_2020 offers, is strategic in the development of economic, social, and cultural opportunities by being located in Palm Beach County in the state of Florida, USA. According to Bloomberg’s world leader in trade and financial data, Palm Beach ranks third in the wealthiest US codes, averaging $1.25M. It is estimated that 24% of the world’s millionaire families reside in Palm Beach.

About the fairground atmosphere that one could already sense, Lee Ann tells us: “APB_2020 will offer visitors an emotional center of artistic immersion, enjoying a creative experience of high level that will enhance the vision of art and a sense of environmental conservation. We are convinced that it is necessary to listen to what the planet tells us through art.”

Within this natural concept of interpretation of the art ecosystem, APB_2020 managed to compose a team of leading experts dedicated to building the most significant and best art promotion platform in South Florida that will offer all the support, so gallerists make the most of their investments.

APB_Main Section with the participation of more than 85 established galleries from all over the world. This section aims to collect more galleries of more significant trajectory; their proposals will be subject to the evaluation and advice of our advisory committee.

APB_Focus will be the new section that aims to strengthen the links between Latin America and the US contemporary art market. Invited galleries from Argentina, Chile, Uruguay, and Venezuela will exhibit contemporary artists from each country.

APB _Next Level is the section for new artistic proposals. Its purpose is to create dynamic exhibitions with young galleries to showcase the most innovative contemporary projects.

APB _Flow is the experimental section of the fair. Here the latest art of new media and video will be presented. It is a proposal that seeks to maximize the interaction of the viewer with the work. Also, a section of large installations aims to give a display space for large artworks on site.

APB_Kabinett consists of highlighting the works of art masters presented through Kabinett. It intends to offer collectors and the public, a museum solution, a type studio format that serves in showing selective works of modern art. The particularity of the proposal brings with it the history of the great collectors of the sixteenth century. The purchases were an act of patronage that derived in the seventeenth century, legitimating interest in collecting. From that time, the Painting Cabinet or Gallery Painting.

APB_Editorial, APB inaugurates a new section the for collectible artists’ books, Zines, art editions, visual poetry books, artist’s photography books, and artist videos.  Creating a new fair environment for both the artist and the collector this section will also include master catalogs of international photographers by such names as Diane Arbus, Sally Mann, Vivian Maier, Ansel Adams, Robert Frank, Jock Sturges with other notoriety contemporary photographers. This section proposes to recognize the contributions of both photographers and extraordinary artist’s working in both print editions and all forms of printed matter.

APB_Eco is another of the activities linked to APB Power Talks that will undoubtedly influence the exhibition sessions. Its action operates under the slogan Art can also save the planet. APB 2020 believes that the manufacture of the avant-garde, extraordinary designs, big business, or the best materials should not pose a threat to the world; quite the contrary, its presence must provide an intelligent solution that protects and supports and everyone’s well-being. APB marks the next step in the evolution of the art market, constituting the APB eco-program, an initiative that promotes the research work of artists interested in environmental conservation and energy saving, imagining ideas about sustainable development as a creative solution for life.

APB_Power Talks is the line of support for dealers and social responsibility with the community. It is about an educational and formative impulse that will develop actions as the delivery of Eblast with information about the new tendencies in art, digital conections, design, and photography. Business Guides Tips, Museography, and Marketing. Community schools will benefit from guided visits, reviews of young photographers’ portfolios. Visitors, in general, will be able to participate in talks and conferences with leading professionals from the world of art, business, conservation, and urban planning.

Perez Art Museum PAMM