Décio Noviello Pop Subversion

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Décio Noviello Pop Subversion

Mayorgallery.com

5 February – 28 March 2025 PV: 6 February, 6 – 8pm

Décio Noviello (1929-2019), a key figure in Brazil’s pop art and avant-garde movements in the 1960s and 1970s, stands as a testament to the transformative power of art in addressing political, cultural, and societal issues. This is his first exhibition in London and coincides with the Royal Academy’s ‘Brazil! Brazil!’ spring exhibition and the current renewed interest in South American art.
A self-taught artist, Noviello began his practice whilst enrolled as a cadet during the Brazilian military dictatorship (1964 to 1985). Characterized by political repression, censorship, and widespread human rights abuses, the government gained sweeping powers to dissolve Congress, censor media, and silence critics. Despite the repression, resistance movements emerged, including artists, intellectuals, and activists who used their platforms to challenge the regime and advocate for democracy, risking arrest, torture, exile, and death. Two pivotal movements—the neo-avant-garde and pop art—redefined Brazilian contemporary art in response to this oppressive climate.
Décio Noviello’s work is embodied by his bold use of color and playful yet subversive imagery. While he embraced the aesthetics of pop art, he infused his work with a distinctly Brazilian sensibility, incorporating elements of local culture, history, and politics to celebrate Brazil’s cultural identity while critiquing the military regime. He gained recognition by winning several prestigious awards at art salons nationwide. His breakthrough came from participating in the 10th São Paulo Biennial in 1969.
A multidisciplinary artist, his work, which extended to conceptual and performance art, carnival decorations, theatrical costumes, and set designs, cemented his reputation as a multifaceted artist capable of bridging diverse artistic disciplines. With his ability to merge high art with popular traditions, he and other artist contemporaries such as Hélio Oiticica and Antônio Dias brought politically charged art into the public sphere, energizing local communities.
In 1970, during the Semana de Arte de Vanguarda (Avant-Garde Art Week), Noviello detonated colored grenades in Belo Horizonte’s Municipal Park, filling the green park with bursts of color. This was a striking visual spectacle and a powerful commentary on disruption and transformation. Noviello later described the act as an “intervention in the landscape,” emphasizing his intention to challenge the monotony of everyday life and inspire new ways of seeing.
Noviello’s interdisciplinary approach also extended to education. Between 1950 and 1960, he served as an army officer and a professor at the Escola de Belas Artes and the University of Minas Gerais. He mentored countless students, sharing his innovative techniques and encouraging them to explore art as a tool for social commentary.
His influence as an educator ensured that his legacy would endure through the work of younger generations. By the time of his retrospective at the Museu Mineiro in 2016, Noviello had become a defining figure in Brazilian contemporary art. His works celebrated in institutions like São Paulo’s Museum of Modern Art and the Walker Art Center’s 2015 ‘International Pop’ exhibition, which traveled to the Dallas Museum of Art and the Philadelphia Museum of Art, encapsulate the avant-garde and pop art movements’ defiance of Brazil’s dictatorship. Artists like Noviello and Oiticica proved the power of creative expression to confront political oppression and shape cultural identity, leaving a legacy of enduring impact on art and activism.

Bio.

Décio Noviello (1929-2019), a key figure in Brazil’s pop art and avant-garde movements in the 1960s and 1970s, stands as a testament to the transformative power of art in addressing political, cultural, and societal issues. This is the first exhibition of his in London and coincides with the Royal Academy’s ‘Brazil! Brazil!’ spring exhibition, along with the current renewed interest in South American art.
A self-taught artist, Noviello began his practice whilst enrolled as a cadet during the Brazilian military dictatorship (1964 to 1985). Characterized by political repression, censorship, and widespread human rights abuses, the government gained sweeping powers to dissolve Congress, censor media, and silence critics. Despite the repression, resistance movements emerged, including artists, intellectuals, and activists who used their platforms to challenge the regime and advocate for democracy, risking arrest, torture, exile, and death. Two pivotal movements—the neo-avant-garde and pop art—redefined Brazilian contemporary art in response to this oppressive climate.
Décio Noviello’s work is embodied by his bold use of color and playful yet subversive imagery. While he embraced the aesthetics of pop art, he infused his work with a distinctly Brazilian sensibility, incorporating elements of local culture, history, and politics to celebrate Brazil’s cultural identity while critiquing the military regime. He gained recognition by winning several prestigious awards at art salons across the country. His breakthrough came with his participation in the 10th São Paulo Biennial in 1969.
A multidisciplinary artist, his work, which extended to conceptual and performance art, carnival decorations, theatrical costumes, and set designs, cemented his reputation as a multifaceted artist capable of bridging diverse artistic disciplines. With his ability to merge high art with popular traditions, he and other artist contemporaries such as Hélio Oiticica and Antônio Dias brought politically charged art into the public sphere, energizing local communities.
In 1970, during the Semana de Arte de Vanguarda (Avant-Garde Art Week), Noviello detonated colored grenades in Belo Horizonte’s Municipal Park, filling the green park with bursts of color. This was not only a striking visual spectacle but also a powerful commentary on disruption and transformation. Noviello later described the act as an “intervention in the landscape,” emphasizing his intention to challenge the monotony of everyday life and inspire new ways of seeing.
Noviello’s interdisciplinary approach also extended to education. Between 1950 and 1960, he served as an army officer and then as a professor at the Escola de Belas Artes and the University of Minas Gerais. He mentored countless students, sharing his innovative techniques and encouraging them to explore art as a tool for social commentary.
His influence as an educator ensured that his legacy would endure through the work of younger generations. By the time of his retrospective at the Museu Mineiro in 2016, Noviello had become a defining figure in Brazilian contemporary art. His works celebrated in institutions like São Paulo’s Museum of Modern Art and the Walker Art Center’s 2015 ‘International Pop’ exhibition, which traveled to the Dallas Museum of Art and the Philadelphia Museum of Art, encapsulate the avant-garde and pop art movements’ defiance of Brazil’s dictatorship. Artists like Noviello and Oiticica proved the power of creative expression to confront political oppression and shape cultural identity, leaving a legacy of enduring impact on art and activism.

Cover image: Decio Noviello, 3 Horizante (Detail), 1969, Acrylic on canvas, 100 x 100 cm

The Mayor Gallery Mayorgallery.com

Opening times: Monday – Friday, 10 am – 5.30 pm Press enquiries: Amy Baker: [email protected]

9 Bury Street, St James’s, London, SW1Y 6AB +44(0)2077343558

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Artists 20th and 21st-century art

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These diverse artists, each carving a unique space in the history of 20th and 21st-century art:

Billy Apple®: A conceptual pioneer, Apple’s work interrogates the very definition of art and authorship. From changing his birth name to a trademarked logo to his explorations of corporate identity and the art market, his practice is a relentless critique of art’s commodification and institutionalization.
Armando: Dutch painter, sculptor, and writer; Armando’s work grapples with the lingering trauma of World War II. His paintings and sculptures, often characterized by raw, gestural marks and somber tones, explore themes of guilt, memory, and the “guilty landscape.”
Imre Bak: A key figure in Hungarian Neo-Avant-Garde, Bak’s paintings are marked by geometric abstraction and a vibrant color palette. His work often references architectural forms and optical illusions, creating a dynamic interplay between space and perception.
Hans Bellmer: Known for his unsettling and provocative sculptures and photographs of dolls, Bellmer’s work delves into the darker recesses of the human psyche. His exploration of sexuality, fetishism, and the fragmented body remains both disturbing and compelling.
Stephen Buckley: British painter and sculptor Buckley’s work is characterized by its playful and experimental approach to materials and form. He often incorporates unconventional materials and techniques, creating works that blur the lines between painting and sculpture.
Feliza Bursztyn: Colombian sculptor Bursztyn’s kinetic sculptures, often made from scrap metal, are potent expressions of social and political commentary. Her works, which moved and made sounds, reflected the turbulent realities of her time.
Carlos Cairoli: A Uruguayan artist, Cairoli is known for his work in kinetic art and optical illusions. His work often uses light and movement to create immersive and interactive experiences.
Rafael Canogar: A Spanish painter and sculptor, Canogar’s work evolved from abstract expressionism to a more figurative style that often addressed social and political issues. It displays a powerful sense of texture and dramatic composition.
Miguel Chevalier: A pioneer in digital and virtual art, Chevalier creates immersive installations that explore the relationship between art, science, and technology. His work often incorporates generative algorithms and interactive elements.
Gianni Colombo: Italian kinetic and programmed art pioneer. Colombo’s work focused on the perception of space and movement. His installations and objects, often involving light and motion, create dynamic and disorienting visual experiences.
Bruce Conner is an American artist known for his experimental films, collages, and sculptures. His work is characterized by its eclectic use of found materials and its exploration of themes of mortality, media, and social commentary.
Constant: Dutch painter, sculptor, and urban theorist Constant’s “New Babylon” project envisioned a utopian society where art and play were integrated into everyday life. His work explores the relationship between art, architecture, and social transformation.
Waldemar Cordeiro: Brazilian artist Cordeiro was a pioneer of concrete art and cybernetic art in Brazil. He was an early proponent of using computers in art, exploring the relationship between technology and aesthetics.
Joseph Cornell: American artist Cornell’s delicate and enigmatic box constructions are miniature worlds filled with found objects and personal symbolism. His work evokes a sense of nostalgia, wonder, and mystery.
Braco Dimitrijević: Bosnian conceptual artist Dimitrijević’s work challenges the traditional notion of the art object and the artist’s role in society. For example, his “Casual Passer-By” series elevates ordinary individuals to the status of art.
Óscar Domínguez: Spanish surrealist painter, Domínguez’s work is characterized by its dreamlike imagery and exploration of the subconscious. He is known for his “decalcomania” technique, which creates abstract and organic patterns.
Max Ernst: A German painter, sculptor, and graphic artist, Ernst was a key figure in the Dada and Surrealist movements. His work is characterized by imaginative imagery, exploration of the subconscious, and use of unconventional techniques.
Stano Filko: Slovak conceptual artist Filko’s work explores themes of identity, spirituality, and the relationship between art and life. His installations and performances often incorporate personal symbols and autobiographical elements.
Lucio Fontana: Italian painter and sculptor Fontana is best known for his “slash” paintings, which challenged the traditional notion of the canvas as a flat surface. His work explores the relationship between space, light, and materiality.
Raimund Girke (1930–2002): A German painter known for exploring white as a primary medium, Girke’s work evolved from gestural abstraction to a minimalist approach emphasizing movement, rhythm, and optical depth. His monochromatic and textural canvases challenge viewers to engage with subtle light variations, reflecting a meditative, almost transcendental quality.
Jan Henderikse (b. 1937): A Dutch artist and founding member of the Nul movement, Henderikse’s work aligns with New Realism and Minimalism. It utilizes found objects, industrial materials, and repetition. His assemblages of bottle caps, license plates, and neon signs transform everyday detritus into compositions that critique consumer culture and the aesthetics of mass production.
Georges Hugnet (1906–1974): Hugnet was a French artist, poet, and surrealist known for his collage works, which played with eroticism, humor, and visual dislocation. His collaborations with figures like André Breton and Marcel Duchamp underscore his role in expanding the boundaries of visual poetry and Dadaist experimentation.
Paul Klee (1879–1940): A pioneering figure in modern art, Klee’s work straddles Expressionism, Cubism, and Surrealism. Music, nature, and children’s art inspired his delicate compositions, abstract symbols, and vibrant color harmonies. A member of the Bauhaus movement, Klee’s innovative theories on form and color influenced generations of abstract painters.
Július Koller (1939–2007): A Slovak conceptual artist, Koller is best known for his anti-art interventions and U.F.O. (Universal Futurological Operations) series, which questioned the role of art in a totalitarian society. His text-based works, symbolic question marks, and performance-driven gestures made him a radical critic of institutional authority in the Eastern Bloc.
Attila Kovács (b. 1951): A Hungarian artist recognized for his geometric abstraction, Kovács explores the relationships between form, color, and space. His meticulous, methodical compositions often reference architectural structures, creating a dialogue between rigidity and optical dynamism.
Tadaaki Kuwayama (b. 1932): A Japanese Minimalist painter in New York, Kuwayama embodies Zen philosophy through its strict geometric precision and metallic color fields. Rejecting subjectivity, his work eliminates any trace of the artist’s hand, creating an impersonal yet meditative experience akin to pure perception.
Verena Loewensberg (1912–1986): A Swiss Concrete artist, Loewensberg was part of the Zürich school of Constructivism. She was known for her precise geometric compositions, which played with vibrant colors and spatial tension. Her work reflects a deep engagement with mathematical order and dynamic visual structures.
Lucia Di Luciano (b. 1933): An Italian Op and Concrete artist, Di Luciano was part of the GRAV (Groupe de Recherche d’Art Visuel) movement. Her work investigates the perceptual effects of color and form, creating optical interactions through systematic, modular patterns that resonate with programmed art aesthetics.
Robert Mallary (1917–1997): An American sculptor and early pioneer of computer-generated art, Mallary combined industrial materials, such as resin and sawdust, with algorithmic processes. His abstract, layered reliefs prefigured the digital age, emphasizing the fusion of technology and tactile materiality.
Aiko Miyawaki (1929–2014): A Japanese artist known for her sculptural explorations of space, Miyawaki created ethereal, metallic wire installations that appear weightless and interact with natural light and air. Her work bridges Minimalism and traditional Japanese aesthetics, offering ephemeral, almost poetic structures that challenge the permanence of form.
Vera Molnár (1924–2023): A pioneer in algorithmic art, Molnár was among the first artists to use computer programming in visual compositions. Her works explore permutations of geometric shapes, creating seemingly random yet precisely calculated arrangements that question the intersection of art, logic, and randomness.
François Morellet (1926–2016): A key figure in geometric abstraction and kinetic art, Morellet’s works use systematic grids, neon lights, and randomness to challenge conventional artistic authorship. His interactive, mathematical approach to art anticipated conceptual and generative design principles.
Marlow Moss (1889–1958): A British Constructivist and pioneer of Neo-Plasticism, Moss expanded on Mondrian’s theories of geometric abstraction, introducing the double line motif to disrupt compositional balance. Her work is a critical yet underrecognized contribution to De Stijl and the Constructivist movements.
Nadja (1902–?): A muse and a central figure in Surrealist mythology, Nadja was immortalized in André Breton’s eponymous novel (1928). Though not an artist, she embodied the Surrealist fascination with the subconscious, mystery, and feminine enigma, influencing the movement’s discourse on reality and illusion.
Man Ray (1890–1976): A seminal Dadaist and Surrealist, Man Ray revolutionized photography through his “Rayographs”—cameraless photographs that played with shadow and abstraction. His work across mediums—painting, film, and assemblage—pushed the boundaries of perception, chance, and unconscious symbolism.
Mira Schendel (1919–1988): A Brazilian artist known for her delicate, ethereal drawings and paintings, Schendel’s work engaged with language, texture, and existential inquiry. Her semi-transparent rice paper works, featuring fragile lines and letters, evoke a poetic minimalism that connects materiality with philosophical depth.
Kurt Seligmann (1900–1962): A Swiss Surrealist painter and engraver, Seligmann’s fantastical compositions fused baroque flourishes with mythological themes. His interest in alchemy, esotericism, and the grotesque made him a distinct yet underappreciated voice within the Surrealist movement.
Turi Simeti (1929–2021): An Italian Zero Group artist, Simeti is known for his monochromatic reliefs, particularly his oval-shaped cutouts that manipulate light and shadow. His minimalist approach emphasizes surface tension and spatial ambiguity, situating his work in dialogue with Lucio Fontana’s spatial investigations.
Julian Stanczak (1928–2017): Julian Stanczak was a Polish-born American painter and a central figure in the Op Art movement. His work is characterized by vibrant, meticulously calculated compositions that explore the perceptual effects of color and form. Stanczak’s paintings often create the illusion of movement, challenging the viewer’s visual perception. His use of color relationships and geometric precision reflects a deep understanding of optical phenomena, making his work scientifically intriguing and aesthetically captivating. Stanczak’s art transcends mere visual trickery, evoking a sense of harmony and rhythm that resonates emotionally with the viewer.
Klaus Staudt (1932–2021): Klaus Staudt was a German artist associated with concrete art and geometric abstraction. His work is defined by its rigorous adherence to mathematical principles and its exploration of spatial relationships. Staudt often employed grid structures and monochromatic palettes to create works emphasizing precision and clarity. His art is not about representation but the purity of form and the interplay of light and shadow. Staudt’s contributions to Concrete Art lie in his ability to transform cold, calculated geometries into meditative experiences.
Shinkichi Tajiri (1923–2009): Shinkichi Tajiri was a Japanese-American sculptor whose work spans many styles and materials, from abstract expressionism to kinetic art. Tajiri’s sculptures often incorporate elements of tension and movement, reflecting his interest in the dynamics of form and space. His “Warrior” series, for example, combines organic and mechanical elements, symbolizing the duality of human nature. Tajiri’s multicultural background and experiences during World War II profoundly influenced his work, infusing it with conflict, resilience, and identity themes. His art is a testament to the power of transformation and the fusion of Eastern and Western aesthetics.
Paul Thek (1933–1988): Paul Thek was an American artist whose work defies easy categorization, blending sculpture, painting, and installation elements. He is best known for his “Technological Reliquaries,” which critique the dehumanizing effects of modernity and technology. Thek’s use of unconventional materials, such as wax and latex, gives his work a visceral, almost corporeal quality. His art is deeply introspective, often exploring themes of mortality, spirituality, and the human condition. Thek’s influence on contemporary art lies in his willingness to confront the uncomfortable and reject artistic conventions.
Luis Tomasello (1915–2014): Luis Tomasello was an Argentine artist associated with the Kinetic Art movement. His work is characterized by its light, color, and three-dimensionality exploration. Tomasello’s “Atmosphères “chromo plastiques series features modular structures that create dynamic optical effects as the viewer moves around them. His use of reflective surfaces and geometric patterns transforms the viewer’s perception of space, making the artwork an interactive experience. Tomasello’s art celebrates light as a medium, bridging the gap between painting and sculpture.
Günther Uecker (b. 1930): Günther Uecker is a German artist best known for associating with the ZERO movement. His work often incorporates nails as a primary material, creating textured, monochromatic surfaces that play with light and shadow. Uecker’s art is deeply symbolic, with the nails representing destruction and renewal. His kinetic installations and light-based works further explore the interplay of movement and perception. Uecker’s art is a powerful commentary on the human experience, blending minimalism with profound emotional depth.
Gerhard von Graevenitz (1934–1983): Gerhard von Graevenitz was a German artist and a key figure in the Concrete and Kinetic Art movements. His work is characterized by its systematic approach and exploration of movement and perception. Von Graevenitz often used mechanical elements to create dynamic, interactive sculptures that challenge the viewer’s understanding of space and time. His art is a fusion of science and aesthetics, reflecting his belief in the transformative power of art. Von Graevenitz’s contributions to Kinetic Art lie in his ability to make the invisible forces of movement and light tangible.
Herbert Zangs (1924–2003): Herbert Zangs was a German artist known for his experimental approach to painting and sculpture. His work often involves “whitewashing,” where he covers objects or canvases in white paint, obscuring their original forms. Zangs’ art is deeply conceptual, exploring themes of reduction, transformation, and the passage of time. His use of white as a symbol of purity and renewal reflects his interest in the metaphysical aspects of art. Zangs’ work bridges Dadaism and Minimalism, challenging traditional notions of artistic expression.

These artists have made significant contributions to the art world, pushing the boundaries of their respective mediums and movements. Their work inspires and challenges viewers, offering new ways of seeing and understanding the world.

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The Soul of Matter

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The Soul of Matter

Mundo Arte Gallery presents The Soul of Matter, an evocative group exhibition curated by Fernando Fernandez, running from February 15 to March 15, 2025. The opening reception will take place on February 15 from 7 to 10 PM at 1746 NE 163rd St, North Miami Beach, FL. Complimentary parking is available at the furniture store next door.

In The Soul of Matter, artistic creation becomes an essential pursuit where materiality is not merely a medium but the very essence of expression. The exhibition features the works of four Miami-based contemporary artists—Marco Caridad, Sharon Berebichez, Verónica Pasman, and Marilyn Valiente—who engage with abstraction to reveal the intangible within the tangible. Their work transcends the physical realm, using materials, textures, and gestures to create a contemplative space where matter becomes a conduit for deeper meaning.

As contemporary society becomes increasingly digital and dematerialized, The Soul of Matter presents a counterpoint to this shift by emphasizing the power of physical materials in artistic expression. In an era where artificial intelligence and virtual reality redefine the limits of creativity, this exhibition reasserts the significance of touch, texture, and the raw presence of artistic mediums. These works not only challenge our perception of materiality but also reflect a global yearning for authenticity, human connection, and tangible experiences in an overwhelmingly virtual world.

Through an interplay of intuitive marks and deliberate choices, the exhibition explores how materials embody emotions, concepts, and spiritual connections. These artists redefine abstraction as a means of storytelling, transforming ordinary elements into profound visual narratives. Curated by Fernando Fernandez, The Soul of Matter invites viewers to experience a dynamic dialogue between the physical and the metaphysical, challenging perceptions of what art can convey beyond its material form.

About the Artists

Marco Caridad
Venezuelan-born and Miami-based, Marco Caridad’s work explores the intersections of materiality, symbolism, and social narratives. His practice delves into themes of migration, memory, and belief systems, often incorporating unconventional materials such as burnt book pages, petroleum, and electrical cables. With a background in visual arts, graphic design, and theater, Caridad’s textured assemblages challenge traditional forms, prompting viewers to reflect on faith, knowledge, and cultural identity.

Sharon Berebichez
Originally from Mexico City and based in Miami for over a decade, Sharon Berebichez is a multidisciplinary artist working across painting, ceramics, assemblage, and sculpture. In recent years, her focus on fiber art—particularly embroidery—has become a meditative process for exploring identity, migration, and heritage. Drawing from her Mexican, Guatemalan, and Jewish roots, Berebichez incorporates rich textures and materials that weave together cultural memory and contemporary abstraction.

Marilyn Valiente
A Cuban-born visual artist residing in Miami, Marilyn Valiente bridges abstraction and reality in her work, addressing themes of human struggle, spirituality, and resilience. With a background in both art and psychology, she explores the repetition of patterns—both in thought and storytelling—translating them into layered compositions rich with bold colors, textures, and symbolic text. Now a full-time artist with a studio at Miami International Fine Arts, Valiente’s work serves as a compelling dialogue on transformation and identity.

Verónica Pasman
Born in Argentina and now based in Miami, Verónica Pasman creates a harmonious balance between structure and spontaneity in abstraction. Her paintings, infused with rhythm and organic forms, have been featured in private collections and luxury spaces, including Coral Sands Hotel in Bal Harbour and Norman’s Key Villas in the Bahamas. Pasman’s work captures the fluidity of motion and the interplay between control and intuition, inviting viewers into a realm of dynamic expression.

Tel 9549949894

1746 NE 163rd St, North Miami Beach, FL 33162

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ÉL CAMINAR DE UN ARTISTA DESDE LA MIRADA DE UN ESPECTADOR

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ÉL CAMINAR DE UN ARTISTA DESDE LA MIRADA DE UN ESPECTADOR

Por: Maria del Mar Montilla

El camino del artista en esencia es un camino esperitual ya qué la persona sirve como canal para darle sentido aquello qué se le manifiesta, facilitando la práctica a través de la creatividad y al mismo tiempo conecta con ese niño o niña qué lleva en su interior, dándole la excusa perfecta para tener la ropa llena de pintura, jugar con diferentes materiales, texturas y colores. Es experimentar, ser curioso e inquietos y
tener toda la libertad de darle rienda suelta a la imaginación y la improvisación.

El proceso de creación es una cita a solas entre el artista, la inspiración y los recursos qué utiliza, permitiendo fluir la energía divina, haciendo de cada instante un momento único, porque cada obra, pintura o instalación es la apertura de nuevas experiencias, nuevos aprendizajes, enriqueciendo y expandiendo el andar de su camino, teniendo en cuenta qué cada dificultad es una puerta qué abre otras
posibilidades.

Los artistas tienen una conexión particular con el mundo ya que desarrollan una sensibilidad con lo que lo rodea, manteniéndose abiertos a toda experiencia sensorial, debido a que cualquier cosa puede convertirse en una fuente de inspiración, permitiendo que sus obras sean una ventana a su interior, expresando su sentir de una manera especial y sublime, ya qué el arte se siente, no se piensa.

Un espectador al apreciar una obra puede experimentar diferentes reacciones, tales como alegría, curiosidad, paz, reflexión, conexión personal, entre otras, dado que cada persona aporta su propia historia y emociones a la interpretación de las piezas.

El arte es un acto de Fe porque es entregarse a ciegas a esa energía que se les expresa, transformando lo intangible en tangible, dándole vida a cada pieza, pincelada o escultura, viendo con claridad lo que otros no ven. Siendo sus obras una expresión de su ser y un testimonio de su viaje creativo.

En conclusión, el camino del artista es un baile entre lo espiritual y lo terrenal en el qué cada persona canaliza y materializa lo que se le expresa, siendo sus obras una representación visual de su interior, además la creatividad juega un papel fundamental en la vida de cada creador, ya qué es una herramienta que se usa desde la expresión personal hasta la transformación social.

Él arte más qué mirarse con los ojos, se observa con él alma.

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The Flow of Water, Michelle Drummond

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The Flow of Water, Michelle Drummond: Opening Reception

Mar 13, 2025

From: 6:00 PM to 9:30 PM

The ARC (Arts & Recreation Center)

675 Ali Baba Avenue
Opa-Locka, FL 33054

The Flow of Water, Michelle Drummond – Opening Reception! Join us at The ARC (Arts & Recreation Center).

The Ten North Group Presents The Flow of Water – A Captivating Exhibition by Michelle Drummond

Opa-locka’s Ten North Group proudly presents The Flow of Water, an immersive art exhibition exploring the beauty, power, and symbolism of water through the eyes of contemporary artist Michelle Drummond. Running from March 13 to May 28 at The ARC (Arts & Recreation Center) in Opa-locka, this exhibition showcases stunning sculptures that celebrate water as a source of life, inspiration, and transformation.

Water is a universal force that shapes our world, connecting cultures, ecosystems, and emotions. The Flow of Water invites visitors to reflect on its many forms and profound impact on art, society, and the environment. Through Drummond’s unique artistic lens, attendees will engage with this essential element from new perspectives, experiencing its fluidity, depth, and movement through intricate sculptural expressions.

The exhibition kicks off with an opening reception on Thursday, March 13, offering guests the first glimpse of Drummond’s thought-provoking works. Presented by Ten North Group, this event marks the launch of a visually compelling and conceptually rich showcase that underscores water’s role as both a tangible and symbolic force.

Join us in exploring this powerful element through the art of Michelle Drummond and discover how water continues to inspire, connect, and transform our world.

📍 The ARC (Arts & Recreation Center), Opa-locka
📅 Exhibition Dates: March 13 – May 28
🎟 Opening Reception: Thursday, March 13

Ten North Group (formerly OLCDC)

Mission To innovate an Arts program that is rooted in the reviving of one community (Opa-locka) with a global vision of advancing the African Diaspora experience and transforming communities.

Ten North Group fulfills its mission by improving access to health and wellness opportunities; supporting

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Fountainhead Residency Open House: Session 2

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Fountainhead Residency Open House: Session 2

The Fountainhead Residency: 690 Northeast 56th Street Miami, FL 33137

Join us for a casual open house to meet Session 2’s resident artists Marcos Castro, Naima Green and Portia Munson. Our Open House is an opportunity to learn about their lives and inspirations and experience their work.

Members’ Open House / 6:00-7:00pm Become a member to gain early access and get a First Look at available works.

Public Open House / 7:00-8:30pm

Fountainhead is the oldest live/work residency in Miami, welcoming 24 national and international artists to the city each year. Every month, Fountainhead welcomes the public into the residency to meet the artists and learn about their work and experience in Miami. To learn more, visit fountainheadarts.org.

Fountainhead elevates the voices, visibility, and value of artists in our society and makes their work accessible in a welcome and inclusive environment.

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Alain Godon Spotlight at Carousel Fine Art: A Celebration of Whimsy, Architecture, and Color

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Alain Godon Spotlight at Carousel Fine Art

Whimsical Art Exhibition by French Pop Artist Alain Godon

Carousel Fine Art, in collaboration with Markowicz Fine Art, is proud to present Alain Godon Spotlight, an exclusive exhibition showcasing the work of internationally acclaimed French pop artist Alain Godon. Running from March 13 to April 8, 2025, this exhibition highlights Godon’s masterful ability to blend humor, deconstruction, and architectural inspiration into whimsical, colorful compositions.

Opening Night & Special Giveaway
To mark this special occasion, Carousel Fine Art will host an opening reception on March 13 from 6–9 PM, where guests will have the opportunity to engage with Godon’s playful yet technically sophisticated works. The first 50 guests will receive a signed Alain Godon poster, making this an unmissable event for collectors, art lovers, and enthusiasts of contemporary pop art.

A Unique Artistic Vision
Born in Bourges, France, Alain Godon has garnered international recognition for his distinctive, childlike style that brings cityscapes and everyday scenes to life. His work, which spans oil painting, bronze sculpture, and his innovative QT (“Cutie”) technique, is a testament to his ability to weave intricate, layered narratives into visually striking and immersive compositions.

Blurring the lines between fantasy and reality, Godon transforms architectural landscapes into dreamlike worlds, where familiar landmarks are reimagined with humor, nostalgia, and vibrant energy. His work has been exhibited worldwide, including in New York, Miami, Los Angeles, Aspen, Amsterdam, Bali, and the prestigious 2001 French National Assembly.

Experience Godon’s World at Carousel Fine Art
From the intricate cut-paper layers of QT (“Cutie”) to the textured brilliance of his paintings and sculptures, Alain Godon Spotlight invites viewers into an imaginative universe that celebrates creativity, storytelling, and artistic innovation.

Join us at Carousel Fine Art for an extraordinary journey through the whimsical, architectural, and humorous world of Alain Godon.

For more information, visit: carouselartgroup.com

RSVP here

Event Details:
📍 Carousel Fine Art – Located in Miami Ironside
📅 Exhibition Dates: March 13 – April 8, 2025
🎟 Opening Reception: March 13, 6-9 PM
🎁 First 50 guests receive a signed Alain Godon poster!

For more information, please contact:
📞 (786) 475-9124
📍 7620 NE 4th Ct, Miami, FL 33138

Carousel Fine Art prides itself on representing both emerging and established artists from around the world. Our collection of global contemporary art styles, includes styles such as Street Art, Modern Art, and Pop Art.

Our art gallery’s mission is to help art collectors discover pieces they will love and treasure for years to come. We aim to connect collectors of all levels with fine art that speaks to them.

Perez Art Museum PAMM

Adventum Floridana: Witnessing the Layers of a Vanishing Horizon

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AMM

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Adventum Floridana: Witnessing the Layers of a Vanishing Horizon a solo exhibition by Andrés Cabrera-Garcia

The Frank Art Gallery

601 City Center Way Pembroke Pines, FL 33025
P: 954 392 2120
Tue – Sat: 11 am – 5 pm

Curated by Sophie Bonet

Exhibition Dates: March 13–June 7, 2025

Opening Reception: March 13, 6–9 PM

The Frank C. Ortis Art Gallery is proud to announce Adventum Floridana: Witnessing the Layers of a Vanishing Horizon, a solo exhibition by Andrés Cabrera-Garcia curated by Sophie Bonet. This evocative exhibition examines the fragile beauty of South Florida’s landscapes in a state of flux, offering viewers an opportunity to engage with the region’s shifting horizons through Cabrera-Garcia’s compelling works.

Cabrera-Garcia’s practice captures the tensions between nature and human intervention, translating ephemeral moments of light, texture, and urban transformation into dynamic visual narratives. His expressive brushstrokes evoke the sensory experience of South Florida—dense humidity, fading light, and the ever-present hum of development—immersing viewers in the visceral realities of a landscape in transition.

Central to the exhibition is a monumental polyptych, a “Platonic Ridge,” embodying the fragmentation and cohesion of South Florida’s evolving terrain. Complemented by an array of found objects and construction debris, the gallery becomes an archaeological site, immersing visitors in the dual forces of destruction and renewal.

Curator Sophie Bonet approaches Adventum Floridana through the lens of Maurice Merleau-Ponty’s phenomenology, emphasizing the active, embodied nature of perception. “This exhibition is not just about observing Cabrera-Garcia’s work,” Bonet explains. “It is about experiencing these landscapes as extensions of ourselves—an entanglement of memory, materiality, and transformation.”

The result is an exhibition that challenges viewers to witness and reflect upon the tenuous beauty of South Florida’s environment and its precarious future. Cabrera-Garcia’s works are not merely representations but invitations to participate in the ongoing dialogue between nature and humanity.

The Frank is a two story art gallery named after Pembroke Pines Mayor Frank C. Ortis for his decades-long commitment to the cultural arts. Lovingly known as ‘The Frank,’ this contemporary art gallery showcases multidisciplinary inclusive exhibitions that foster connections, facilitate collaborations and initiate cultural change. The gallery’s exhibition and learning space serves as a site of convergence for artists, performers, thought leaders and community members.

Perez Art Museum PAMM

Aldeide Delgado in conversation with Dahlia Dreszer

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AMM

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Dahlia Dreszer, Bringing The Outside In exhibition

Aldeide Delgado in conversation with Dahlia Dreszer at Green Space Miami

Join us for a lively discussion between Aldeide Delgado and Dahlia Dreszer at Green Space Miam – it’s going to be a fascinating artist talk!

Dahlia Dreszer, in dialogue with curator Aldeide Delgado, delves into the profound ways our homes serve as vessels of cultural memory and identity. This exhibition reimagines Green Space Miami as an immersive environment where tropical botanicals, site-specific installations, and striking large-scale photographs intertwine. Through intricate compositions of flowers, ancestral textiles, and cultural artifacts, the installation blurs the boundaries between interior and exterior spaces, evoking a sensory journey through heritage and place.

Bringing the Outside In explores how our homes become vessels for cultural memory and identity. The exhibition transforms Green Space Miami into an immersive environment where large-scale still life photography merges with site-specific installations, creating a dialogue between interior and exterior worlds. Through a layered visual language of rescued flowers, ancestral textiles, and cultural artifacts, the work examines themes of preservation, migration, and the fluid nature of home, suggesting that “home” is not a fixed place but a constant dialogue between memory, identity, and the spaces we inhabit.

“Bringing the Outside In” merges cultural objects, textiles, printed works, and flowers into meticulously composed still lifes. Each photograph creates a layered narrative exploring cultural identity through carefully arranged domestic spaces.

Live plant installation by Tournage (@tournagemia).

Artist talk – Aldeide Delgado in conversation with Dahlia at Green Space

Join us for an exciting artist talk featuring Aldeide Delgado and Dahlia at Green Space Miami. Get ready to dive into the minds of these talented individuals as they discuss their inspirations, creative processes, and more. This in-person event is a unique opportunity to gain insight into the world of art and connect with fellow art enthusiasts. Don’t miss out on this engaging conversation!

Aldeide Delgado is a Cuban-born, Miami-based independent Latinx art historian and curator, and the founder and director of the Women Photographers International Archive (WOPHA). Delgado brings extensive experience in writing, curating, and presenting on photography at prominent art history forums. She has delivered lectures at esteemed institutions, including the Tate Modern, Palais de Tokyo, The Clark Institute, University of Pennsylvania, Pérez Art Museum Miami (PAMM), DePaul Art Museum, King’s College London, California Institute of the Arts (CalArts), and The New School. Her accolades include the 2023 Ellies Creator Award, 2019 Knight Arts Challenge Award, the 2018 School of Art Criticism Fellowship by SAPS – La Tallera, and the 2017 Research and Production of Critic Essay Fellowship by TEOR/éTica.

Delgado is the visionary behind the WOPHA Congress, the world’s first-ever feminist photography collective conference. Held every three years at PAMM and across South Florida, this groundbreaking event has gathered nearly 100 leading art historians, curators, and women photographers, attracting over 2,000 national and international attendees across its past two editions. Delgado’s work centers on feminist and decolonial perspectives, addressing key topics in the history of photography within Latin American, Caribbean, and Latinx contexts. She is the author of the book “Becoming Sisters: Women Photography Collectives & Organizations” (2021). Before founding WOPHA, she created the Catalog of Cuban Women Photographers, the first comprehensive survey of Cuban photography history highlighting women’s contributions from the nineteenth century to the present. She is an active member of PAMM’s International Women’s Committee, US Latinx Art Forum, the Lucie Foundation Advisory Board, and the steering committees of the Feminist Art Coalition and Fast Forward: Women in Photography.

Dahlia Dreszer Artist Statement:

Within the boundaries of conventional photography, Dahlia found a way to begin a path out of it by exploring another dimension of picture-making where She creates unreal spaces that fly with our imagination and dreams.

Through her art, Dahlia intends to free the mind towards a way of understanding that goes beyond the conventional. Expressed through photography and digital manipulation, Dahlia creates compositions that break free from reference in a significant way. She is interested in questions regarding artifice in color and naturalness in color, and how it does or does not belong in the environment. Her pieces are created through a hybrid process where she combines photography, digital technique, and a painters thought process.

Biography:

Born in Colombia and raised in Panama, Dahlia Dreszer is a photo artist with a passion for capturing the essence of life through her lens. A graduate from Emory University, Dahlia holds a comprehensive background in Media and Photography, complemented by a concentration in Film and Media Management from the Goizueta School of Business.

With over a decade of dedicated experience in the realm of photography and artistry, Dahlia’s commitment to her craft is evident in her extensive portfolio. Her artistic journey has been marked by numerous exhibitions, showcasing her work on recognized platforms such as Miami Art Basel week in 2021, 2022, and 2023, as well as notable displays at the Frost Museum in Miami and Perez Art Museum Miami.

Beyond these acclaimed events, Dahlia has left her artistic imprint in various gallery exhibitions across the globe, including vibrant art scenes in Miami, Tulum, the UK, Seattle, and her native Panama. Her work is a testament to a relentless pursuit of aesthetic exploration, pushing the boundaries of conventional picture-making.

As a photo artist, Dahlia’s focus is to push the boundaries of conventional photography and create contemporary pieces that challenge the viewers perception of the medium. Dahlia seeks to inspire dialogue and introspection through her work, and blur the lines between reality and artifice. Dahlia’s work explores themes of identity, memory, and the human experience, as she aims to question the limits of what can be achieved with a camera. Her process often involves manipulating the photograph in post-production, adding layers of meaning and depth to the composition. Dahlia’s work is constantly evolving as she strives to spark imagination and inspire new ways of thinking about the world around us.

Perez Art Museum PAMM

Jean Albert Gorin

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AMM

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Jean Albert Gorin ( 1899 – 1981 ) was a French painter. Unique contributions or vertical sculptures to Neoplasticism.

Jean Gorin was a pioneering French neoplastic painter and constructive sculptor whose work extended the principles of Piet Mondrian and Theo van Doesburg into new dimensions. As a dedicated disciple of Mondrian, Gorin remained committed to the ideals of Neoplasticism, yet he introduced subtle evolutions to the movement, particularly through his integration of circles, diagonals, and three-dimensional reliefs.

Gorin’s encounter with Neoplasticism in 1926 marked a turning point in his artistic development. Seeing Mondrian’s geometric compositions alongside van Doesburg’s elementarist works and reading Georges Vantongerloo’s theoretical writings propelled him toward pure abstraction. This led to a correspondence with Mondrian and Vantongerloo, which quickly blossomed into deeper artistic exchanges and personal meetings. Mondrian, impressed by Gorin’s dedication, became both a mentor and advocate, encouraging him to push the boundaries of the movement.

Gorin’s early works, such as Composition No. 10 (1926), reflected a strict adherence to Neoplastic principles—grid-based arrangements, primary colors, and precise geometric forms. However, his willingness to experiment set him apart. Unlike Mondrian, who rigidly maintained vertical and horizontal compositions, Gorin explored the potential of diagonals and circular elements, subtly disrupting the strict orthogonality of traditional Neoplasticism.

By 1930, Gorin was exhibiting alongside Mondrian and other abstract artists in the Cercle et Carré group, founded by Michel Seuphor. This period saw him transition from painting to reliefs, a shift that Mondrian himself encouraged, believing it to be a natural evolution of abstract painting toward architectural space. Gorin’s neoplastic reliefs extended the flat planes of painting into physical depth, creating dynamic spatial interactions that anticipated later developments in Constructivist and Minimalist sculpture.

Throughout the 1930s and 1940s, Gorin remained at the forefront of abstract movements, co-founding the Abstraction-Création group and continuing to develop his vision of neoplastic architecture and sculpture. His reliefs, with their precisely balanced geometric configurations, were praised for advancing Mondrian’s ideas while injecting a new level of spatial complexity.

Despite the decline of Neoplasticism after Mondrian’s death in 1944, Gorin persisted in his explorations, adapting his work while maintaining its core principles. His legacy lies in his ability to bridge the gap between two-dimensional abstraction and three-dimensional form, expanding the reach of Neoplasticism beyond painting and into the realms of architectural and sculptural innovation.

Today, Gorin is recognized as a crucial figure in the evolution of geometric abstraction, standing alongside Mondrian and van Doesburg as one of the leading proponents of pure visual harmony through form and color. His reliefs and spatial compositions continue to inspire contemporary artists and architects exploring the relationship between art and structure.

Jean Albert Gorin, a vital figure within the Neo-Plasticist movement, extended Piet Mondrian’s rigorously geometric principles into three-dimensional space with his innovative vertical sculptures and maintained a consistent dedication to hard-edge abstraction in his paintings.

Gorin’s paintings, characterized by their precise, orthogonal lines and carefully calibrated primary and non-colors, demonstrated a commitment to pure, non-representational forms. 2 However, his most significant contribution lies in his sculptural work. These vertical constructions, meticulously crafted from geometric planes, transcended the limitations of the canvas, becoming tangible manifestations of his pursuit of spatial harmony and the integration of art into the architectural environment. By pushing the boundaries of Neo-Plasticism beyond the flat plane, Gorin effectively transformed the movement’s theoretical tenets into a dynamic, experiential reality, solidifying his place as a pioneer of abstract sculpture

Jean Albert Gorin

abstraction-création: art non-figuratif published in Paris annually from 1932-1936

El arte de los tiempos nuevos.

A pesar del trágico de la vida actual, se reconocen ciertos signos de que la evolución decisiva de la humanidad está por comenzar.
¡Todo se transforma, todo evoluciona!

La humanidad en su etapa adulta:

El doctor Jaworsky, comparando la vida de la humanidad con la del hombre, dice que esta entra actualmente en su decimoctavo año.
Nos alejamos, por tanto, del periodo turbulento de la adolescencia; los tiempos nuevos nos conducen hacia la edad adulta.
Desde hace medio siglo, no se puede negar, la evolución ha sido prodigiosa.
La invención de la máquina, los progresos técnicos y los descubrimientos constantes de las ciencias otorgan a los hombres, hoy en día, poderes gigantescos.
Se pueden prever para el futuro tiempos únicos.
Nuestra época ya no puede compararse con ninguna otra de la historia.
Con el siglo XX se abre una nueva era de la civilización.

Crisis y cambio de ciclo:

Las crisis económicas y sociales que atraviesa el mundo actual son el signo del fin de un ciclo, del fin de un mundo donde triunfó la anarquía individualista en todos los ámbitos.
Los tiempos nuevos maquinistas, que constituyen el nuevo ciclo, se anuncian finalmente racionales y colectivistas.
Las jóvenes élites, sanas, llenas de vitalidad y optimismo, se constituyen en grupos compactos y avanzan valientemente hacia la claridad radiante del futuro.

El hombre nuevo y el maquinismo:

El hombre se libera finalmente de todo sentimentalismo y particularismo.
Desde el automóvil y el avión, todo le aparece bajo una nueva luz.
El maquinismo va a revolucionar completamente nuestra vida: su desarrollo intenso y su utilización racional van a crear en nosotros una nueva mentalidad.
La estandarización y la industrialización, extendiéndose a todos los ámbitos de la vida, hacen que esta se vuelva cada vez más abstracta.
De esto resulta una nueva óptica, precisa, clara y matemática.

El arte en los tiempos nuevos:

El hombre nuevo tiene una necesidad intensa de contemplación plástica.
La vida nueva le exige momentos de calma y reposo, donde la contemplación del arte juega un gran papel si quiere conservar su equilibrio vital.
Solo corresponderá a esta necesidad una plástica clara, pura, sintética, despojada de las más mínimas escorias pasadistas.
Los diferentes “ismos” que se han sucedido en los últimos cincuenta años han permitido desarrollar un arte absolutamente adecuado a las exigencias de los tiempos nuevos.
La plástica está ahora completamente liberada de la influencia morfológica en la que se había estancado durante siglos.

El arte abstracto y no figurativo:

Un arte puro, colectivo, universal y científico ha nacido: el arte puramente abstracto, absolutamente no figurativo.
El movimiento colectivo de la nueva plástica (neoplasticismo) emplea medios de expresión absolutamente universales, matemáticos y científicos.
Es el arte impersonal por excelencia.
La línea recta y el plano rectangular de color puro o no color son los únicos elementos para todos.
La posición ortogonal es la constante.
A través de la creación y la perfección cualitativa de las relaciones plásticas puras, la obra puede alcanzar la unidad cósmica.

El arte completo:

Es el arte completo, que permite la expresión de todo nuestro ser: material-espiritual, individual-universal, en equilibrio constante.
Es el arte racional y colectivo de los tiempos nuevos maquinistas.