Thursday, May 29, 2025
Home Blog Page 83

The Power of Primary Colors

Primary Colors: blue, red, yellow
Primary Colors: blue, red, yellow

The Power of Primary Colors

The primary colors are red, yellow, and blue. They are called “primary” because they cannot be created by mixing other colors. Instead, all other colors can be created by mixing these three colors together.

Primary colors are incredibly powerful. They can be used to create a wide range of emotions and effects. Red is often associated with passion, anger, and danger. Yellow is associated with happiness, optimism, and energy. Blue is associated with calmness, peace, and tranquility.

In art, primary colors are often used to create a sense of excitement or drama. They can also be used to create a sense of harmony or unity. For example, a painting that uses only primary colors can be very striking and eye-catching. However, a painting that uses primary colors in a balanced and harmonious way can be very calming and serene.

The primary colors have been used by artists for centuries to create beautiful and effective works of art. Some of the most famous paintings in the world, such as Vincent van Gogh’s “The Starry Night” and Henri Matisse’s “The Dance,” use primary colors to great effect.

In recent years, primary colors have also become popular in fashion and design. They are often used to create bold and eye-catching looks. For example, primary colors are often used in sportswear, children’s clothing, and graphic design.

The primary colors are a powerful tool that can be used to create a wide range of emotions and effects. They are a versatile and timeless color palette that can be used to create beautiful and effective works of art.

As an artist, I believe that the primary colors are essential for any artist’s palette. They are the building blocks of color, and they can be used to create a wide range of effects. I encourage artists to experiment with the primary colors and see how they can be used to create their own unique and personal style.

Perez Art Museum PAMM
Pérez Art Museum Miami

EXPOARTESANO, FERIA DE ARTESANÍAS COLOMBIANA

ARTESANÍAS COLOMBIANA
ARTESANÍAS COLOMBIANA

LA PRIMERA EDICIÓN INTERNACIONAL DE EXPOARTESANO, LA FERIA DE ARTESANÍAS MÁS IMPORTANTE DE COLOMBIA, ESTARÁ EN MIAMI DEL 21 AL 23 DE JULIO.

¿QUÉ? Por primera vez en su historia, Expoartesano, la feria de artesanías más importante de Colombia, tendrá su primera edición internacional en Miami desde este viernes 21 a domingo 23 de julio de 2023. Miami International Fine Arts –MIFA– acogerá este encuentro, gracias a la gestión de Artesanías de Colombia y Plaza Mayor Medellín ante el Consulado de Colombia en Miami. 

Este espacio les permitirá a los colombianos residentes de la Florida, reconectar con sus orígenes, y todo el público en general, para propiciar encuentros y conocer el trabajo artesanal de Colombia. Además, para los artesanos será una oportunidad de sacarle provecho a esta plataforma de negocios que los conectará con el mercado estadounidense, que es  el que demanda sus productos en el mundo.

La inauguración de Expoartesano Miami 2023 se realizará el viernes 21 de julio, desde las 7:30pm en MIFA Gallery, en un acto privado presidido por Luis Gilberto Murillo, Embajador de Colombia en Estados Unidos. La noche tendrá demostraciones en vivo de varios artesanos, las cuales se repetirán en el transcurso de la feria, durante el fin de semana.

Este sábado 22 y domingo 23 de julio de 10am a 8pm, el público puede asistir gratuitamente a presenciar una mezcla de culturas, una mirada al sur del continente y al trabajo noble de maestras y maestros que dan vida a cada artesanía y que llevan el alma de Colombia, un país de regiones, en el mes de la colombianidad.

La feria contará con la participación presencial de 21 artesanos colombianos, pero habrá productos elaborados por más de 50 artesanos en representación de todo el país, con oficios como tejeduría, cestería, marroquinería, lutería, talla en piedra, talla en madera, joyería, entre otros.

¿CUÁNDO?  Sábado 22 y domingo 23 de julio de 2023.

HORA: 10am a 8pm.

¿DÓNDE? Miami International Fine Arts – MIFA

5900 NW 74 Ave. Miami FL (Doral)
*FREE PARKING

Perez Art Museum PAMM
Pérez Art Museum Miami

Modern Patrons: Gina Mamidaki

Gina Mamidaki
Gina Mamidaki

As told to Cathryn Drake

Modern Patrons: Gina Mamidaki

How the hotelier built a Cretan retreat for artists from Anish Kapoor to Lynda Benglis

Through her unstinting support for artists over the years, the hotelier and art patron Gina Mamidaki has created an extraordinary oasis of contemporary art in Agios Nikolaos, Crete.

Mamidaki has cultivated artistic production through a sculpture garden with more than 70 site-specific artworks, a program of symposiums and residencies, and an annual art prize. She also supports the community by using local products and promoting traditional artisans through cultural platforms and educational programs. Next in the works is a museum of contemporary art, scheduled to open in 2026.

On the occasion of this year’s G. & A. Mamidakis Foundation Art Prize, Art Basel caught up with Mamidaki and the art historian and curator Sotirios Bahtsetzis, who oversees art acquisitions and development for the foundation.

Portrait of Gina Mamidaki.
Portrait of Gina Mamidaki.

Gina Mamidaki: Art and beauty go hand in hand. When we started the G. & A. Mamidakis Foundation, I was trying to find something to make Minos Beach Hotel different and give it a competitive edge. I believe that art and hospitality are very close to each other, so this is the reason why we started the exhibitions and inviting artists to come and build in-situ art pieces. I believe that clients should be surrounded by art all of the time. All hotels should accommodate art, and not as a dead thing but as something alive. Having a few paintings means nothing.

I believe very much in art, and I love artists. I was a Communist when I was younger, which means I love to help people, from my employees to the local community. I give a certain amount of my profits to these sectors, including the residency program on our premises. This is why I see things more holistically than other hoteliers. And this is how I see art as well. Artists have to speak; people have to see their work. We don’t have so many opportunities for artists here in Greece.

Sotirios Bahtsetzis: Since the early 1990s, Gina Mamidaki has invited artists to participate in the creation of the Sculpture Garden at Minos Beach Hotel. She hosted residencies before the trend of residencies existed. Some of the artists are very well known today, like Anish Kapoor and Joseph Kosuth, along with other emerging artists. What’s important is the instructions they were given when they were invited to make an artwork: here is this landscape, here is the location, choose simple materials, choose what you find around you, and create an interesting piece. So it was not about overproduction. That’s why there are some beautiful works like Drawing (1988) by Lynda Benglis, which is one of my favorites because it’s a very simple gesture that seems to grow out of the landscape. On the other hand, The Painful Pyramids are impressive barbed-wire structures that were created by Magdalena Abakanowicz during the 3rd Art Symposium, ‘Art in Politics’, in 1993.

Installation view of The Painful Pyramids (1993) by Magdalena Abakanowicz. Photography by Loukianos Arnaoutakis.
Installation view of The Painful Pyramids (1993) by Magdalena Abakanowicz. Photography by Loukianos Arnaoutakis.

GM: Minos Beach is placed down in the earth, so as you go through the gardens you have a series of apokalipseis (revelations) through the artworks. A good example of this is Come with the Wind, by Theodoros Zafeiropoulos and Yorgos Rimenidis, winners of our inaugural art prize in 2019. Their work takes viewers on a journey to eight different parts of the world through sound recordings that are activated by both the wind and human presence. Another striking work is the sculptural installation Lost Ears of Agios Nikolaos and its accompanying sound installation, Hanging Gardens, by Kostas Ioannidis: While swimming near the hotel, you may stumble upon eight large cement ears placed in the seabed, after which you will encounter sounds of nature, like wind and birdsong, in an immersive experience stirring an appreciation of the surrounding natural beauty.

Our family hotel, Candia Park, is like a traditional Cretan village and all about what we celebrate together: happiness. We are building a 1,000 m² museum, which will open in 3 years. It will function as the contemporary art museum of Eastern Crete, and we will program a lot of happenings – art, dance, theater – everything is going to be there. The architects, Alexandros Kapsimalis and Marianna Kapsimali, are based in Santorini, where they do lots of work with cave dwellings. They seek to preserve the environment with buildings that are in harmony with the landscape, and part of the structure will be under the earth, with only a hole of light. It will be very mystical.

SB: Jumping forward to now with the residency program we started in October 2022, we have had 2 years of discussions and workshops, collaborating with artists and other institutions to focus on the theme of care, a recurring art world topic. For the Mamidakis Foundation as well as the hotels, this notion of care in its essential holistic understanding – care for others, for the community, for the landscape, and the environment, all in a communal way – is a leading philosophy. There has been a lot of discussion in the last 20 years or so about socially engaged art. And there’s an understanding that big collecting has to do with blue-chip art, and socially-engaged art doesn’t have to do with collectors. And I think it’s wrong. Here we have a very clear case that those things can go together, and they should go together actually.

To that end, we have an open call every year for the G. & A. Mamidakis Foundation Art Prize. This is the first time we’ve had an international open call, and we got more than 700 applications. There are specific criteria: first of all the quality of the work, secondly an understanding of the concept and the hotel exhibition spaces, and thirdly a theme. This year’s theme is inspired by the residency’s theme of care – so all the works are related to that in one way or another. It is not about who is known; we choose the artist for the work they want to produce. That’s why you find works here by people with high-profile careers alongside newcomers.

GM: We are starting to produce art for the Minos Palace Hotel, which is just across the cove. It is located on a big peninsula with a kind of rocky terrain and a 360-degree view, so the aim is to have a lot of land art, which will suit it beautifully. This is an ambitious project for the near future. This year we focused on artworks for major corridors in the hotel, awarding three equal prizes instead of one for the first time. The winners are: Nomadic Murals by Maro Fasouli, who reintroduces traditional practices in a series of woven ensembles; Day by Alexandros Laios, who captures successive color hues from various stages of the day using theater filters; and Ami Yamasaki’s Whispers travel and whisper to you again, a sculptural installation made entirely of paper that rustles to the touch, emitting a ‘symphony of whispers’ meant to weave together sensations and sounds from Japan and Crete.


SB: For the art prize, the foundation gives money for production, and this is not something that happens commonly in Greece, if at all. So aside from the award, we support a big part of the production of a unique site-specific work. The selection committee is comprised of five people who come from museums, landscape design, visual arts, and academia. There is an intense engagement and discussion with the artist. An important aspect is Gina’s direct involvement in the whole process. When we met for the first time, I was amazed by her astute, very clear views regarding the quality of art. Sometimes I have the feeling that we pamper artists, but to produce something interesting they have to get out of their comfort zone and be confronted with a curator, collector, or institution with an interesting vision. Gina says, ‘Trust my eye, trust the way I look at things. It is different from yours, and it may be different also from the way artists look at things, but only with this synergy can great art be produced.’

It’s important for artists to find their way back to a community of people learning and living together that involves critics, curators, collectors, and other artists. Whenever great art was produced in the history of Modernism, this kind of connection existed. I have met very few collectors that understand the notion of teamwork, and Gina is one of them. It is important to embrace everybody, including the people who work at the hotel. I have seen them asking interesting questions and sitting together with us, with the curators and artists and visitors, discussing the work. As Gina has said, it’s not about taking, it’s about giving, about inspiring.


Cathryn Drake is a freelance writer and editor who has contributed to Artforum, e-flux Criticism, Kathimerini, and Wall Street Journal, among other publications.

Published on July 18, 2023.

Caption for full-bleed image, from top to bottom: 1. Gina Mamidaki. 2. Reception of Minos Beach Hotel. 3. Installation view of Come with the Wind (2019) by Theodoros Zafeiropoulos and Yorgos Rimenidis. 4. Installation view of Nomadic Murals (2023) by Maro Fasouli. 5. Installation view of Day (2023) by Alexandros Laios. All artwork photography by Loukianos Arnaoutakis.

Perez Art Museum PAMM
Pérez Art Museum Miami

Art of cooking

Art of cooking
Art of cooking

Art of cooking

Miami is a melting pot of traditional food from all over the world

Traditional Dishes to Look Out For in Miami and Miami Beach

Italy: Pizza Margherita, Pasta Carbonara, Risotto, Tiramisu
Mexico: Tacos, Enchiladas, Guacamole, Chiles Rellenos
Japan: Sushi, Ramen, Tempura, Miso Soup
India: Butter Chicken, Biryani, Samosas, Masala Dosa
China: Peking Duck, Dim Sum, Kung Pao Chicken, Fried Rice
France: Coq au Vin, Escargots, Croissants, Crème Brûlée
Peru: Jalea, Ceviche, Lomo Saltado, Pollo a La Brasa, Anticuchos
Colombian: Bandeja Paisa, Arepas, Empanadas
Thailand: Pad Thai, Green Curry, Tom Yum Soup, Mango Sticky Rice
Greece: Moussaka, Souvlaki, Spanakopita, Baklava
Venezuelan: Arepas, Empanadas, Tequeños, Hallacas:, Pabellón Criollo, Cachapas
Brazil: Feijoada, Coxinha, Brigadeiros, Pão de Queijo
Morocco: Tagine, Couscous, Harira Soup, Baklava
United States: Hamburger, Fried Chicken, Apple Pie, BBQ Ribs
Spain: Paella, Tapas, Gazpacho, Churros
Argentina: Asado (Grilled Meat), Empanadas, Dulce de Leche, Mate
Lebanon: Hummus, Falafel, Shawarma, Baklava
South Africa: Bobotie, Braai (Grilled Meat), Bunny Chow, Malva Pudding

The art of cooking is a creative and expressive process that involves using ingredients to create delicious and visually appealing dishes. It is a skill that can be learned and developed over time, and it is a passion for many people.

The art of cooking is a captivating and multifaceted craft that combines creativity, skill, and a deep understanding of ingredients and flavors. It goes beyond mere sustenance, transforming food into a sensory experience that delights the palate and nourishes the soul.

In the realm of culinary arts, chefs are the artists, and the kitchen becomes their canvas. They use their expertise to blend diverse ingredients, experiment with techniques, and create unique flavor profiles that tantalize taste buds and evoke emotions.

Cooking is not just about following recipes; it’s about embracing the freedom to explore, innovate, and express oneself. It requires a keen sense of taste, a discerning eye for presentation, and the ability to balance flavors and textures harmoniously.

The art of cooking extends beyond the individual chef, as it often involves sharing meals with others. Food has the remarkable power to bring people together, fostering connections and creating cherished memories. From intimate family gatherings to grand feasts, cooking becomes a vehicle for sharing love, culture, and tradition.

Just like any other form of art, cooking requires dedication, practice, and a constant desire to learn and improve. It is a lifelong journey of discovery, with endless possibilities and endless opportunities to create something extraordinary.

In the end, the art of cooking transcends the boundaries of taste and nourishment. It is an expression of passion, creativity, and personal interpretation, transforming humble ingredients into culinary masterpieces that delight and inspire.

There are many different aspects to the art of cooking, including:

The selection of ingredients: The quality and freshness of ingredients are essential to the success of any dish.
Selecting ingredients for cookingOpens in a new window
www.escoffieronline.com
Selecting ingredients for cooking
The preparation of ingredients: The way that ingredients are prepared can have a big impact on the final dish. For example, chopping vegetables into different shapes and sizes can affect their cooking time and texture.
Preparing ingredients for cooking Opens in a new window
food.unl.edu
Preparing ingredients for cooking
The cooking techniques: There are many different cooking techniques, such as baking, roasting, frying, and simmering. Each technique has its own unique flavor profile and can be used to create different types of dishes.
Cooking techniques for cooking Opens in a new window
www.howtocook.recipes
Cooking techniques for cooking
The seasoning and garnishing: The right seasoning can make a dish sing, while the perfect garnish can add a touch of elegance.
Seasoning and garnishing for cooking Opens in a new window
www.amazon.com
Seasoning and garnishing for cooking
The presentation: The way that a dish is presented can make a big difference in the overall dining experience. A well-presented dish is more likely to be enjoyed by diners.
Presentation of cooking Opens in a new window
www.slidemembers.com
Presentation of cooking
The art of cooking is a vast and ever-evolving field. There are always new techniques and recipes to learn, and there is no one right way to cook. The most important thing is to experiment and have fun with it!

Here are some of the benefits of cooking as an art form:

It can be a creative outlet: Cooking allows you to express your creativity through the use of ingredients, flavors, and techniques.
It can be a rewarding experience: When you cook a delicious meal, it is a great feeling to know that you created something that others will enjoy.
It can be a healthy hobby: Cooking at home gives you control over the ingredients that go into your food, which can help you eat healthier.
It can be a social activity: Cooking for friends and family is a great way to connect with them and share your love of food.
If you are interested in learning more about the art of cooking, there are many resources available to you. You can take cooking classes, read cookbooks, or watch cooking shows. There is also a wealth of information available online. With a little effort, you can learn to cook like a pro!

Perez Art Museum PAMM
Pérez Art Museum Miami

Gego: Measuring Infinity

Gego: Measuring Infinity
Gego: Measuring Infinity

Gego: Measuring Infinity

In sculptures, drawings, prints, and textiles, Gego traced a markedly individual path through her organic forms, linear structures, and spatial investigations.

Gego, or Gertrud Goldschmidt (b. 1912, Hamburg; d. 1994, Caracas), first trained as an architect and engineer at the Technische Hochschule Stuttgart (now Universität Stuttgart). Fleeing Nazi persecution in 1939, she immigrated to Venezuela, where she settled permanently, fully embarking on an artistic career in the 1950s that would span more than four decades. In two- and three-dimensional works across a variety of mediums, Gego explored the relationship between line, space, and volume. Her practice in the related fields of architecture, design, and teaching complemented those investigations.

This exhibition is the first major museum retrospective of Gego’s work to be presented in the United States since 2005, offering a fully integrated view of the influential German-Venezuelan artist and her distinctive approach to the language of abstraction. Across five ramps of the Solomon R. Guggenheim Museum’s rotunda, the chronological and thematic survey features nearly 200 works from the early 1950s through the early 1990s, including sculptures, drawings, prints, textiles, and artist’s books, alongside photographic images of installations and public works, sketches, publications, and letters.

Gego is one of the most significant artists to emerge from Latin America during the second half of the twentieth century, yet her work remains lesser known in the United States. Examining the formal and conceptual contributions she made through her organic forms, linear structures, and systematic spatial investigations, Gego: Measuring Infinity grounds Gego’s practice in the artistic contexts of Latin America that flourished over the course of her lengthy career, considering the artist’s intersections with—and departures from—key transnational art movements such as geometric abstraction and Kinetic art. Gego put forth radical ideas through her intensive investigations of structural systems: transparency, tension, fragility, spatial relations, and the optical effects of motion are all methodically addressed in her singular body of work. Tracing a markedly individual artistic path, Gego defied categorization. This long-overdue retrospective builds upon the Guggenheim Museum’s legacy of presenting groundbreaking modern and contemporary solo survey exhibitions in a global context that champion nonobjective art.

This presentation of Gego: Measuring Infinity is cocurated by Pablo León de la Barra, Curator at Large, Latin America, Solomon R. Guggenheim Museum and Foundation, New York, and Geaninne Gutiérrez-Guimarães, Associate Curator, Guggenheim Museum Bilbao, and Solomon R. Guggenheim Museum and Foundation, New York.

The museum is thankful for the close collaboration and support of the Fundación Gego, led by its directors, Tomás and Barbara Gunz, who fully endorsed this exhibition. Additionally, the museum expresses gratitude to the staff and board of the Fundación Gego, which generously provided unrestricted access to its collection and archives.

Gego: Measuring Infinity is organized by the Solomon R. Guggenheim Museum, New York; Museo Jumex, Mexico City; and Museu de Arte de São Paulo Assis Chateaubriand—MASP. The exhibition was developed by Julieta González, Artistic Director, Instituto Inhotim, Brumadinho, Brazil; Geaninne Gutiérrez-Guimarães, Associate Curator, Guggenheim Museum Bilbao, and Solomon R. Guggenheim Museum and Foundation, New York; and Pablo León de la Barra, Curator at Large, Latin America, Solomon R. Guggenheim Museum and Foundation, New York; in collaboration with Tanya Barson, former Chief Curator, Museu d’Art Contemporani de Barcelona, and Michael Wellen, Senior Curator, International Art, Tate Modern, London.

The Leadership Committee for Gego: Measuring Infinity is gratefully acknowledged for its generosity, with special thanks to Clarissa Alcock and Edgar Bronfman, Jr., Chairs, as well as Edlis-Neeson Foundation, Dominique Lévy and Brett Gorvy, Catherine Petitgas, Estrellita and Daniel Brodsky, Adriana Batan Rocca, Peter Bentley Brandt, Maria Belen Avellaneda-Kantt, Alice and Nahum Lainer, Sicardi Ayers Bacino, Ana Julia Thomson de Zuloaga, and The Evelyn Toll Family Foundation.

Funding is also generously provided by the Kate Cassidy Foundation, the David Berg Foundation, the Kaleta A. Doolin Foundation, the Diane and Bruce Halle Foundation, and Henry Moore Foundation.

Perez Art Museum PAMM
Pérez Art Museum Miami

Jesús Soto

Jesús Rafael Soto

100 años de Jesús Soto, el maestro del cinetismo que atrapó la mirada del espectador

Con conciertos, exposiciones y encuentros se celebrará el centenario de uno de los mayores exponentes del cinetismo venezolano. Museos y galerías dentro y fuera del país rinden homenaje al artista nacido en Ciudad Bolívar

Soto

Soto à côté du panneau central de son œuvre “Mur optique”, 1951 Soto with the central panel of his work “Mur optique”, 1951 Soto al lado del panel central de su obra “Mur optique”, 1951

Isabel Soto, hija del reconocido artista plástico venezolano Jesús Rafael Soto, recordó que el maestro del cinetismo solía decir que el espectador en el cine o el teatro se quedaba hasta el final de la pieza. Pero, de cara a una obra plástica, el tiempo es menor: «Escasamente un par de minutos y pasa a la siguiente obra. Sin embargo, Soto buscó atrapar la mirada del espectador, crear en él una reflexión. Eso ha estado presente en todo su trabajo», puntualizó sobre el maestro del movimiento y la repetición.

Jesús Soto nació el 5 de junio de 1923 en Ciudad Bolívar, estado Bolívar. Fue el hijo mayor del matrimonio Emma Soto y de Luis García Parra, quienes tuvieron otros tres hijos. Desde pequeño, quien se convertiría en uno de los grandes exponentes del cinetismo, sintió inclinación hacia las artes; tanto así que rayaba las paredes de su casa. Y en 2023, cuando se cumplen los primeros cien años de su nacimiento, Venezuela celebra la obra del maestro Soto.

«Este centenario es un reconocimiento para su figura como artista. Incluso, quizás personalmente, o para el arte en general. También para celebrar la persona que fue; cuál fue su obra. Y no solo a nivel nacional sino a nivel internacional. Soto es un artista reconocido internacionalmente sin ninguna duda», explicó Isabel Soto, quien se especializó en las Artes Escénicas y es la presidenta de la Fundación Jesús Soto .

Soto

Soto. «Volume suspendu», 1968
200 x 100 x 50 cm
Soto en su Taller con su hija Isabel, París, Francia, 1968. Musée National d’Art Moderne – Centre Pompidou collection © Archivos Soto / Todos los derechos reservados

Celebraciones para el maestro

En Venezuela, diferentes organizaciones, instituciones y galerías comenzaron con los homenajes desde el año pasado. Sin embargo, y con mayor énfasis desde junio, se llevan a cabo una serie de exposiciones y eventos donde el público puede reencontrarse con obras icónicas de Soto. Pero también con la música. Y es que no podría ser de otra manera. Ambas expresiones artísticas comparten un aspecto común: la vibración. Además, Soto dedicó gran parte de su vida a tocar la guitarra.

De esa forma, la Fundación Jesús Soto en alianza con el Ministerio para la Cultura y El Sistema presentan una serie de conciertos cerca de las obras del maestro nacido en Ciudad Bolívar. Por ejemplo, se realizaron presentaciones en La Esfera de Caracas y en la terraza de la Sala Ríos Reyna del Teatro Teresa Carreño, bajo la Extensión amarilla con cubos virtuales. Y el 29 de junio la orquesta Big Band de El Sistema ofrecerá un concierto donde se ubica la obra Volumen virtual suspendido del centro Banaven.

También, en el Museo de Bellas Artes inauguró la muestra Jesús Soto: cosmos en estado de vibración. Y antes, el 12 de mayo, Espacio Arte al Cubo (del Centro Banaven) presentó la exposición Geometrismos. Jesús Soto y su tiempo. Propuesta que reúne el trabajo de artistas contemporáneos con Soto (entre 1950 y 1970) como Gego, Juvenal Ravelo, Martha Boto, Julio Le Parc, Mateo Manaure, Victor Vasarely, entre otros. El 28 de junio, en el Centro Cultural BOD inaugurará la muestra Inmateriales, que cuenta con la curaduría de Ariel Jiménez.

Asimismo, diferentes museos internacionales también prestaron sus espacios para mostrar la obra del venezolano. Por ejemplo, en Estados Unidos: en la Hispanic Society de Nueva York; el Coral Gables Museum, Florida; y también en ese estado, la Ascaso Gallery. Luego, en México en la Galería RGR; la Galería Dan en San Pablo, Brasil. Y, en Francia, el Museé Cantonnal des Beux Arts de Laussane.

Soto

“Esas especies de “esculturas vibrantes” de Jesús Soto no son pues sino una proyección espacial de la pintura, de una pintura que se ha impuesto la tarea de decirnos, de sugerirnos, que la materia y todo lo que existe, desde los inmensos astros que pueblan el universo” / Foto Vasco Szinetar ©

El legado de Soto

Los primeros 100 años de Soto también representan una oportunidad para recordar cómo este maestro del movimiento, la luz, el color y el metal incorporó su obra a espacios públicos. Por ejemplo, en el Centro Banaven (conocido como Cubo Negro), en la autopista Francisco Fajardo con la Esfera de Caracas; o el arte que incorporó al Metro de Caracas y al Complejo Cultural Teresa Carreño (tanto en los espacios abiertos como en la Sala José Félix Ribas y el telón de la Sala Ríos Reyna). «Para él eso siempre fue importante. Es decir, salir de los museos o galerías y hacer que toda persona que transita por la ciudad tenga acceso a una propuesta artística», dijo Isabel Soto.

Con respecto al estado de las obras de Soto en espacios públicos, la hija del maestro apuntó que particularmente en Chacaito necesitan atención. Sin embargo, resaltó el mantenimiento que se le ha dado a la Esfera de Caracas y a las del Centro Banaven. Y, cuando fue preguntada sobre el Museo de Arte Moderno Jesús Soto (ubicado en Ciudad Bolívar), Isabel Soto decidió no pronunciarse. Esta institución -inaugurada el 25 de agosto de 1973 y es un edificio obra del maestro Carlos Raúl Villanueva- resguarda más de 700 obras que pertenecen a 130 artistas venezolanos e internacionales.

Soto
Esfera de Caracas

Por otra parte, la presidenta de la fundación resaltó que durante su vida el maestro defendió que el arte es conocimiento. «Si realmente se escuchan los términos que usaba, entendemos que es una obra muy amplia. Pero también tiene una dirección muy clara. El arte para Soto no es expresión, es conocimiento. Tiene que ver con evolución de un lado totalmente racional que viene precedido por una investigación científica», aclaró.

Los inicios en el arte

Explicó Isabel Soto que el trabajo de su padre puede entenderse -entre otras maneras- agrupando las piezas por períodos. Por ejemplo, recuerda Soto, los inicios del cinetista fueron figurativos, inspirados por Paul Cézanne. Sin embargo, desde ese momento comenzó a demostrar su interés por el cubismo y el constructivismo. En el año 1942 obtiene una beca para estudiar en la Escuela de Artes Plásticas y Aplicadas de Caracas. Allí, estudió Arte Puro y Formación Docente en Educación Artística e Historia del Arte. Y fue cuando conoció a Carlos Cruz Diez, Alejandro Otero y Pascual Navarro.

Soto estudiante de arte, Caracas, 1945 © Archivos Soto / Todos los derechos reservados

Desde 1943, Soto comenzó a exponer sus obras en el Salón Oficial de Arte en Caracas. Cuatro años más tarde -y tras culminar sus estudios-, Soto es nombrado director de la Escuela de Bellas Artes de Maracaibo. A la par, se dedicó a la docencia en el Liceo Baralt y en la Escuela Normal.

En 1950 Soto obtuvo una beca para estudiar en París, Francia. Y este paso fue fundamental para el maestro. Después de aproximadamente un mes de viaje en barco, el artista se reunió con Alejandro Otero y Mercedes Pardo, Rubén Núñez, Perán Erminy y el poeta José Lira Sosa. Ese mismo año se grupo forma Los Disidentes que incluyó a Carlos González Bogen, Narciso Debourg, Perán Erminy, Dora Hersen, Mateo Manaure, Luis Guevara Moreno, Pascual Navarro, Rubén Núñez y Alejandro Otero.

Soto
Soto. s/t, 1953
35 x 63 x 8 cm
Colección privada
© Archivos Soto / Todos los derechos reservados

Los Disidentes rechazan el arte figurativo y a la pintura tradicional. De esa forma, se interesan por la abstracción geométrica. Y París para Soto fue decepcionante.

«A mi llegada a París, todo el arte estaba realizándose a través de formas que a mí me recordaban las que yo había utilizado para realizar figuras o paisajes. Inclusive los artistas geométricos no me parecían artistas abstractos. Yo veía composiciones de rombos, triángulos, poliedros, toda una serie de elementos que resultaban sugerentes de la realidad figurativa, y yo estaba seguro de que la pintura figurativa usaba para su composición interior el sistema de la llamada pintura abstracta. Para mí eso no era abstracción, sino la simplificación de la figuración», de acuerdo con una entrevista para El Minero de Caracas (1967).

Soto
Soto. s/t, 1953
35 x 63 x 8 cm
Colección privada
© Archivos Soto / Todos los derechos reservados

En París, contribuyó -de acuerdo con la página web oficial- a la eclosión del movimiento cinético. Esto gracias a su participación en la exposición El Movimiento (1955) en la Galería Denise René. Pero además «en exposiciones del Grupo Zero con quienes comparte su investigación sobre la noción de inmaterialidad», se lee en el sitio web.

Cinetismo: movimiento y repetición

Sin embargo, es en 1952 cuando comenzó a trabajar la repetición y la progresión. Basado -en parte- en su experiencia como músico, plasma conceptos de la música a la plástica. A partir de ese momento, Soto trabaja en función de los efectos vibratorios en esculturas e imágenes no solo bi, pero tridimensionales. En ese mismo año se plantea una de las características más representativas de Soto: el espectador ya no es un actor pasivo, sino que participa del fenómeno plástico.

Desde entonces, Soto trabajó el arte cinético. Durante su prolífica carrera, el artista realizó obras que empezaron a finales de la década de 1950 con Vibration. Estas piezas están compuestas por hilos de metal y otros objetos conseguidos en la calle, sobrepuestos a un fondo estriado en blanco y negro. Con ello, se produce el efecto moiré. A partir de ese momento introduce otros elementos como varillas metálicas suspendidas y cuadros de metal.

Luego, en 1967, siguiendo los principios de la vibración de la obra y del espectador como un ente activo en el disfrute de la obra, Soto crea los Penetrables. Obras de metal o nylon suspendidas en el espacio. En 1968 expuso en la Kunsthalle de Berna y en el Stedelijk Museum de Amsterdam. Un año después lo hizo en el Musée de la Ville de Paris. Y pasó a Nueva York, al Guggenheim, en 1974; y en 1983 en el Museo de Arte Contemporáneo de Caracas (que estaba dirigido por la periodista Sofía Imber). El número de exposiciones colectivas e individuales del maestro superan las 180 alrededor del mundo.

Desde la década de 1960 en adelante, diferentes instituciones a nivel mundial le encargan obras de gran escala para incorporar en espacios públicos como murales y esculturas. Así, hay obras de Soto expuestas en edificaciones de Canadá (Royal Bank of Toronto), París (en el Centro Pompidou y el vestíbulo de la empresa Renault), Caracas y Corea del Sur.

Soto. «Volume virtuel», 1987 570 x 2150 x 1440 cm Musée National d’Art Moderne – Colección Centre Pompidou © Archivos Soto / Todos los derechos reservados
Soto
Soto. «Volume virtuel suspendu», 1977 3000 x 2000 x 1800 cm Royal Bank of Canada, Toronto, Canada © Archivos Soto / Todos los derechos reservados

Para Isabel Soto las obras de su padre «estaban realmente fuera de lo que se hacía en aquella época. Se trató de investigación pura, pero también el conocimiento sensible de los materiales. Él intentó materializar lo que habitualmente acostumbramos a ver y estimular la reflexión», afirmó.

«Lo eterno está en la vibración»

La presidenta de la Fundación Jesús Soto recordó una cita que dijo su padre. «En el espacio donde vivimos nosotros, primero, no hay vacío; está lleno de relaciones, tiene su densidad, su elasticidad. Es una plenitud total, pero es una plenitud inmaterial. Y eso me impacta y me fascina. A partir de ahí empecé a pensar que lo eterno está en la vibración. Justamente, es la vibración que desmaterializa; sea la forma de un cuadrado o la de una varilla o la forma de una Escritura», aseguró.

Luego de más de cinco décadas de trabajo, la obra de Soto se puede encontrar en los cinco continentes. Por ejemplo, en países como Argentina, Alemania, Australia, Bélgica, Brasil, Chile, China, Colombia, Canadá, Corea del Sur, Dinamarca, Egipto, Emiratos Árabes, España, Estados Unidos, Finlandia, Francia, Inglaterra, Israel, Italia, Japón, México, Nueva Zelanda, Rumanía, Suiza, Suecia y Venezuela.

Soto
“Esas especies de “esculturas vibrantes” de Jesús Soto no son pues sino una proyección espacial de la pintura, de una pintura que se ha impuesto la tarea de decirnos, de sugerirnos, que la materia y todo lo que existe, desde los inmensos astros que pueblan el universo” / Foto Vasco Szinetar ©

Además, Soto recibió varios reconocimientos a lo largo de su vida. En 1957 le otorgaron el Premio de Pintura Abstracta, de la Galería Don Hatch, Caracas. Tres años más tarde mereció el Premio Nacional de Pintura, Venezuela; en 1963 obtuvo el Premio de la 2a Bienal Reverón, Caracas, y el Premio Wolf, Bienal de San Pablo, Brasil. El siguiente año, el reconocimiento David E. Bright Foundation Award, durante la XXXII Biennale Internazionale d’Arte di Venezia, Italia. En Caracas, en 1972 lo otorgaron la Orden Andrés Bello en Primer Grado.

La lista continúa con el Doctor Honoris Causa (1978) por la Universidad de Oriente, en Cumaná. Luego, en 1979, la Association Internationale des Arts Plastiques (Unesco), París, lo condecoró con el Conseiller d’Honneur Vitalice. Y en 1981 recibió la Medalla Picasso de la Unesco en París (condecoración que recibió nuevamente en 1990). Además, los galardones que recibió el maestro también fueron otorgados por instituciones, gobiernos y museos de otros países como Colombia, Argentina, Italia, Francia, Puerto Rico, Chile, Ecuador, Alemania, Australia, Corea del Sur y otros más.

Jesús Rafael Soto falleció el 14 de enero de 2005. Tenía 81 años de edad. Y sus restos descansan en el cementerio de Montparnasse. Sin embargo, su obra continuará cautivando, haciendo reflexionar e invitando a formar parte al espectador en cada exposición donde alguna de sus Vibraciones, Penetrables, Esferas, Murs, Escritos, Cubos, Volúmenes Estructuras cinéticas. 

Relieve Dark Spots in the Blink of an Eye (Watch THIS)

En el Estanque Sur de Guggenheim se exhibe Sphére Lutetia (1996). Esta obra de grandes dimensiones se concibió originariamente para emplazarse en los Campos Elíseos de París
Perez Art Museum PAMM
Pérez Art Museum Miami

Colombian Empanadas. Culinary Arts

Empanadas Colombianas
Empanadas Colombianas

Colombian Empanadas. Art of Cooking

A Delicious and Diverse Snack

There are many restaurants and food manufacturer in Miami, Doral or Kendall to buy Colombian Empanadas (Empanadas Colombianas)

The empanada swiftly earned the title of Colombians’ cherished snack, embracing adaptability to suit the unique gastronomic customs across the nation’s diverse regions. Through alterations in size, filling, ingredients, preparation methods, and accompaniments, this corn wrap ascended as the crowned jewel of Colombian cuisine.

Colombian empanadas, the savory delights that have won the hearts and palates of countless food enthusiasts, offer a delicious taste of Colombia’s rich culinary heritage. These pocket-sized pastries, filled with an assortment of mouthwatering ingredients, have become a beloved street food and a cherished part of Colombian culture. In this article, we’ll take a closer look at the history, ingredients, preparation, and regional variations that make Colombian empanadas an irresistible treat for locals and visitors alike.
Colombian empanadas are more than just a delectable snack; they are a testament to the country’s culinary ingenuity and cultural diversity. Whether you find yourself strolling the vibrant streets of Bogotá or exploring the coastal cities of Cartagena, the aroma of freshly fried empanadas will undoubtedly entice you to take a bite. With their irresistible combination of flavors and textures, Colombian empanadas are a must-try for anyone seeking to savor the true essence of Colombian cuisine. So, the next time you have the chance, be sure to indulge in these savory delights and experience the taste of Colombia, one empanada at a time.


A Brief History
The origins of empanadas can be traced back to Spain, where the word “empanar” means to wrap or coat in bread. The Spanish colonizers brought this culinary tradition to Latin America, and over time, each region developed its unique version of empanadas, incorporating local ingredients and flavors.
Ingredients and Fillings
Colombian empanadas are typically made from a simple dough consisting of cornmeal, water, and salt. The dough is kneaded to achieve a soft and pliable texture, which is then divided into small balls before being flattened into circles. The fillings are what truly set Colombian empanadas apart.
One of the most popular fillings is “papa criolla,” a native Colombian potato variety. These potatoes are boiled and mashed, then mixed with various ingredients like seasoned ground beef, chicken, or pork. The fillings can also include rice, beans, cheese, or a combination of these, resulting in a delightful symphony of flavors.


Preparation and Cooking
The empanada-making process is an art form passed down through generations. Skilled hands fold the dough expertly around the fillings, creating the distinctive half-moon shape. The edges are sealed firmly to ensure that no delicious goodness escapes during frying.
Traditionally, Colombian empanadas are deep-fried to achieve a crispy golden-brown crust. The frying process infuses the pastries with a delightful crunch that contrasts beautifully with the rich, flavorful filling. While frying is the most common method, some regions opt for baking, making them a healthier alternative without compromising taste.

Here is a recipe for Colombian empanadas:
Ingredients:
• 1 cup cornmeal
• 1 teaspoon baking powder
• 1/2 teaspoon salt
• 1/4 cup vegetable oil
• 1/2 cup warm water
• 1 pound ground beef
• 1 onion, chopped
• 2 potatoes, peeled and diced
• 1/4 cup chopped cilantro
• 1 teaspoon ground cumin
• 1 teaspoon salt
• 1/2 teaspoon black pepper
• Oil for frying

Instructions:
1. In a medium bowl, whisk together the cornmeal, baking powder, and salt.
2. In a small bowl, whisk together the vegetable oil and warm water until well combined.
3. Add the wet ingredients to the dry ingredients and stir until just combined. Do not overmix.
4. Heat a large skillet over medium heat. Add the ground beef and cook, breaking it up with a spatula, until browned.
5. Add the onion and cook until softened, about 5 minutes.
6. Stir in the potatoes, cilantro, cumin, salt, and pepper. Cook until the potatoes are tender, about 10 minutes.
7. Remove the filling from the heat and let cool slightly.
8. Preheat the oven to 350 degrees F (175 degrees C).
9. Line a baking sheet with parchment paper.
10. On a lightly floured surface, roll out the dough to 1/8-inch thickness.
11. Cut the dough into 4-inch circles.
12. Place a spoonful of the filling in the center of each circle.
13. Fold the dough over the filling and seal the edges with a fork.
14. Place the empanadas on the prepared baking sheet.
15. Bake the empanadas for 20-25 minutes, or until golden brown.
16. Serve warm with your favorite dipping sauce.


Serving and Accompaniments
Colombian empanadas are often served with a side of ají sauce. This bright and spicy condiment, made from chili peppers, tomatoes, onions, and cilantro, adds a tangy kick to the empanadas and complements the savory notes perfectly.
Regional Variations
Colombia’s diverse geography and cultural influences have led to unique regional variations of empanadas. In coastal areas, you might find seafood-filled empanadas, such as shrimp or fish, reflecting the abundance of fresh catch. In the Andean regions, empanadas might feature vegetarian fillings, like mushrooms or spinach, catering to a wider range of dietary preferences.

Empanadas are a popular snack and street food in many countries around the world, and Colombia is no exception. Colombian empanadas are made with a dough of cornmeal or wheat flour, and are filled with a variety of savory ingredients, such as meat, potatoes, cheese, and vegetables. They are then fried or baked until golden brown and crispy.


Colombian empanadas are a delicious and affordable way to enjoy a quick meal or snack. They are also a great way to sample the flavors of Colombian cuisine. There are many different types of Colombian empanadas, so there is sure to be one to please everyone.
Here are some of the most popular types of Colombian empanadas:
Empanadas de carne (Beef Empanada): These empanadas are filled with a mixture of ground beef, onions, potatoes, and spices. They are a popular street food in Colombia, and are often served with a side of salsa.
Empanadas de pollo (Chicken Empanada): These empanadas are filled with a mixture of shredded chicken, onions, potatoes, and spices. They are a bit lighter than empanadas de carne, and are a good option for a healthy snack.
Empanadas de queso (Cheese Empanada): These empanadas are filled with a mixture of cheese, onions, and spices. They are a popular choice for vegetarians, and are a great way to enjoy the taste of Colombian cheese.
Empanadas de espinaca: These empanadas are filled with a mixture of spinach, onions, and spices. They are a healthy and delicious option for a snack or light meal.
Empanadas de camarón: These empanadas are filled with a mixture of shrimp, onions, and spices. They are a popular choice for seafood lovers, and are a great way to enjoy the flavors of the Colombian coast.
Mini Empanadas: : Choice of BEEF, CHICKEN, CHEESE RAW or PRE-FRIED. Ready to cook. Keep frozen. COOKING INSTRUCTIONS: Keep frozen until ready to cook. FRYER: Deep fry on 350˚F for approx. 6-7 minutes. AIR FRYER: Cook on 350°F for 8 minutes or until it reaches your desired level of crisp.
Venezuelan Empanadas BEEF, CHICKEN and CHEESE. Venezuelan empanadas are made with corn dough, then stuffed with anything you can imagine (Chicken, Meat, Cheeses, Cazón/shark, Black Beans), and then deep-fried


No matter what your taste, there is sure to be a Colombian empanada that you will love. So next time you are in Colombia, be sure to try one of these delicious snacks.

Perez Art Museum PAMM
Pérez Art Museum Miami

Jerónimo Villa

Jerónimo Villa
Jerónimo Villa

Jerónimo Villa

About the artist

Jerónimo Villa was born in Bogota, Colombia, in 1990. His artistic education was a musician, and his interest in the visual arts comes from his parents: his father is a sculptor, and his mother is a fashion designer. His early works were paper sculptures. However, in 2009 he began to work systematically and made pieces with wire. Part of his work is focused on using found objects that could be window fragments, which he incorporates from 2020.

He began with the type of work he currently does through carpentry, making stretchers, frames, and other structures. It was working with wood that he discovered sandpaper, and it transformed from an instrument to an indispensable material. He was intrigued by the fortuitous designs that appeared on the used sandpaper and used them first in collages. After that came the transition between the used sandpaper used to treat wood and the new ones he would use on his pieces. The artist sees this process as life and death, wood as a life allegory, and the sandpaper as its executioner who is finishing it slowly. The original transmuting vehicle to wood is the sandpaper, the initial matter, establishing a dialogue between them. Here he is alluding to the material functionality and time as a conditioning factor.

His work uses all wood variants, from whole parts to sawdust. Conceptually he is close to Buddhism through impermanency, the inherent and constant transformation of change, and accepting that nothing is static.

He takes advantage of the material’s visual characteristics, like in the sandpaper’s case, and searches for different colors and textures to create a “landscape” with dissimilar material gradations. By tearing the sandpaper, he exposes the base color, creating dynamism and dimensionality. That’s how these “landscapes” emerge, which imitate the water movement as peaks or create mountains through the superimposition of several layers of sandpaper. By layering the sandpaper, it establishes an accumulation that talks about volume but also about what is hidden from the naked eye.

Another series includes matches, in which he takes off the heads and places them over sandpaper, creating different compositions. Here he develops a similar dynamic to the wood-sandpaper because the sandpaper becomes the transformative element once more.

This artist looks to the materials beyond their intrinsic value, searching for their expressive capabilities. That’s how he finds parallels between certain types of sandpaper used for metals and leather. He creates pieces in which the visual similarities of these two are explored in works that look similar to stitched leather. He uses matches to “sew” sandpaper fragments, which keep in place the sandpaper fragments, similar to a quilt from afar. Here he is working with concepts such as impossibility, fragility, and impermanence challenging all the material’s possibilities. The contact points with textiles allowed him to participate in exhibitions of that nature.

Villa began his residency with D+C Foundation on February 13 and will be at the studio residence for twelve weeks, during which he expects to create a body of works based on two of his series: Turmalina and Aparatos Abrasivos (Tourmaline and Abrasive Apparatus). The second is a tribute to the Colombian sculptor Edgar Negret (1920-2012).

He has exhibited regularly since 2011, and his work has been included in many collective exhibitions in Colombia, the United States, Uruguay, Russia, and Venezuela. In addition, his pieces are in private collections worldwide and institutions such as the Tolima Art Museum in Colombia.

Statement

          Entre lo que la obra expone, hay tres puntos importantes que se han ido desarrollando en el proceso: la imposibilidad, el tiempo y la muerte. El primero se ve plasmado en la constante negación de la función y el resalto de lo imposible, narrando tensiones y enalteciendo oposiciones. Los otros dos, en el empleo del objeto encontrado en desuso u olvido. El trabajo crea estructuras de materia y de historias en piezas volumétricas que tienden a mostrar cierta nostalgia por su tiempo. Toma la decisión de adoptar objetos reposados en el desuso, interviene su forma y su función perdida, y arma estructuras donde la geometría se expresa clara. Los encuentros con la materia prima suelen darse en la calle. Más que abandonados, los objetos tienen cicatrices de la violencia humana, de los golpes del clima y de la naturaleza del material. Parecen decididos a dejar de ser ellos mismos con función determinada, y convertirse en la fricción del tiempo y el olvido. Junto a un caño o recostados en postes, compartiendo el espacio con el hedor de los orines, estos varios sinnombre son recogidos a elección de una curaduría casi totalmente pasional. Van siendo incluidos en un inventario que carece de ese desprecio y anula la desolación.

          El idilio de la vida-muerte es la columna conceptual de la obra. De allí nace y se desarrolla. El objeto encontrado estaba muerto en vida y ahora es resaltado e implementado en un proceso escultórico y conceptual.

      Sillas, muebles, persianas, troncos, ventanas. Una variedad de objetos intervenidos y congelados en el tiempo. Otros incrustados o con incrustaciones, como el recuerdo que está empotrado en la memoria. Libros, cuerdas, madera, pintura, fuego. Todo un diálogo entre materiales y objetos. La obra adopta los sinnombre y los bautiza con un orden nuevo que habla con el espacio y que ofrece historias maduras; un orden que se instala en la escultura, en la pintura y más que todo, en la poesía. El objeto ahora es un recuerdo, un pasado impreso en la obra. El tiempo ha frenado y ha dejado escenas inmóviles que evaden la muerte y narran sólo un poco de lo que ahora no son.

          El trabajo expresa de diversas formas y por diferentes medios una añoranza por el tiempo ya transcurrido, como la función que ya no existe o la cicatriz que ha dejado el pasado en el material.          

EXPOSICIONES INDIVIDUALES RECIENTES

2022   Tiempos sin asperezas, BEATRIZ ESGUERRA ART, Bogotá, Colombia

2020   Instrumentos para la proximidad parcial, GALERIA LA COMETA, Bogotá, Colombia. (Dúo)

2016    Sinnombres, GALERIA BETA, Bogotá, Colombia. (Dúo)

2015    El Sufrimiento, GALERIA CHRISTOPHER PASCHALL, Bogotá, Colombia.

2014    Tiempo, espacio, objeto y movimiento, MUSEO DE ARTE DEL TOLIMA, Ibagué, Colombia.

2014    Impacto, GALERIA LGM, Bogotá, Colombia.

2013    ACUERDO, GALERIA NUEVEOCHENTA, Bogotá, Colombia.

EXPOSICIONES COLECTIVAS RECIENTES

2022   Líneas cruzadas, PROCESO, Bogotá, Colombia.

2022   Aire, OCRE GALERIA, Bogotá, Colombia.

2022   Blanco 1501, AURA ARTE, Medellín, Colombia.

2022   Fuego, OCRE GALERIA, Bogotá, Colombia.

2022   Conversations in small format, BEATRIZ ESGUERRA ART, Bogotá, Colombia.

2020   En la mira, GALERIA LA COMETA, Bogotá, Colombia.

2019    Alumni show, PCA GALLERY, Il, USA.

2016    Hilemorfismos, GALERIA LA COMETA, Bogotá, Colombia.

2015    VIII Salón Arte Joven, EL NOGAL, Bogotá, Colombia.

2015    Gravitacional, Galería Camenea, Bogotá, Colombia.

2014    Premio Grau, CASA GRAU, Bogotá, Colombia.

2014    Sin título II, Galería LGM, Bogotá, Colombia.

2014    The Secret, CERO GALERIA, Bogotá, Colombia.

2014    Arte a las 7, CENTRO CULTURAL EMBAJADA DE ESPAÑA, Bogotá, Colombia.

2013    Digressions & Detours, CURATOR’S VOICE GALLERY, Miami, USA.

2013    Barrio Bienal, MUSEO DE ARTE MODERNO DE BOGOTA, Bogotá, Colombia.

2013    Línea y Figura, GALERIA LGM, Caracas, Venezuela.

2013    Bienal DESDE AQUI, MUSEO DE ARTE MODERNO DE BUCARAMANGA, Bucaramanga, Colombia.

2013    Colectiva, NARANJO & VELILLA, Medellín, Colombia.

2013    Travesías Textiles, CASA DE LA CULTURA, Punta del Este, Uruguay.

2012    Moving Pictures, PCA GALLERY, Illinois, USA.

2012    Vernitage, PCA GALLERY, Illinois, USA.

2012    Colectiva, CERO GALERIA, Bogotá, Colombia.

2012    Rare Air, PCA GALLERY, Illinois, USA.

2011     In Family Unity – Unity of the World, EKATERINBURG, Moscow, Rusia.

2011     LOPROPIO, GALERIA EL GARAJE, Bogotá, Colombia.

DISTINCIONES

2014   Primer puesto Escultura, PREMIO GRAU, Bogotá, Colombia.

2012   FULL A-I-R SCHOLARSHIP, Prairie Center of the Arts, Illinois, USA.

2011    FULL SCHOLARSHIP, Artula Environmental Arts, Oregon, USA.


Contact: dcfamilyfoundation.com

Perez Art Museum PAMM
Pérez Art Museum Miami

Guillermo García

Guillermo García
Guillermo García

Guillermo García

Guillermo Garcia Cruz was born in Montevideo, Uruguay, and resides in Dubai. His artistic formation included attending the Fundación de Arte Contemporáneo, Montevideo, Uruguay; Advanced Painting at the Washington Studio School and Drawing and Painting in Contemporary Art at Corcoran College of Art, Washington, DC.; and the National School of Fine Arts in Montevideo, Uruguay. In addition, he is a professor of Visual Art at the Instituto de Profesores Artigas in Montevideo, Uruguay.

His work can be found in many collections worldwide, among those Cisneros Fontanals Foundation (CIFO), Northwestern University Collection, Chicago, USA; Luis Bassat Collection, Barcelona, Spain; Jorge M. Pérez Collection, Miami, Florida, USA; Alberto Rebaza Collection, Lima, Perú; and DiGood Collection, Madrid, Spain. His works have been featured in several publications, including a feature by ARTnews during Sao Paulo’s SP-Arte 2023, among the best pieces in the fair.

García Cruz’s work uses a novel approach to replicating how images are perceived. His work looks like it was a computer error or glitch in its pixeled look. He also uses primary software colors in some of his paintings, reinforcing that idea. He says that his “current body of work seeks to question what happens in a variety of fields during this moment of change, when we all feel a little bit disoriented, anxious, or curious about what is about to occur.”

During his residency, García Cruz will develop a project in which he will create a series of works from these ideas.

STATEMENTS

UNTITLED SPACES

At the beginning, Untitled Spaces Project departs of visual experiments that come from real and fictitious structures of exhibition spaces, galleries and museums. These works seek to investigate in different ways the interrelation between the artistic object, represented as an organic pictorial presence, and the artistic institution that contains it, expressed visually as its architectural structure. The contextual space becomes the main theme of this work, looking to question the of validation problem in the current system of contemporary art.

This process begins inside the room through painting and then extends into space, resemantizing construction materials to talk about the wall that becomes the artwork. But then it takes a broader dimension when leaving the exhibition space. Now the work determines new unconventional spaces that contain it, where the piece is taken to the other side of its initial role, to transform the new alternative placement in part of this interaction and to come back to be exhibited as a photograph of this action.

GLITCHED SPACES

The current artwork of Guillermo García Cruz introduces the concept of Glitch to his institutional investigation. Glitch is a term that comes from computer science and refers to a temporary error that is corrected in some moments. In contrast to the bugs, the glitch doesn’t destroy the system, instead, it is temporarily twisted. This temporary twist is assimilated to the global crisis we are experiencing in different ways, an event comparable to the changes of paradigm created by Berlin’s Wall Fall, or the World Wars, being the first time that such a big globalized event hits the millennial generation. 

This “failure” affects all aspects of this new way of acting and behaving, and obviously the field of art does not escape this. That is why it is important to ask certain questions about the weight and influence of the institution or structure as a container and validator of what happens in this field, in such a particular context. This investigation has many layers, but in the first place this displacement is metalinguistic, referring to a global disruption that is related to the functioning of the art institution. 

The virtual fairs, the 3D tours, the long distance exhibitions, the NFTs, have come to stay?, Or are they part of this glitch that will come back when the “error is corrected in the system”? Actually, we have no idea of how this will affect the way we understand art, to the spaces or to the walls that traditionally validate what is art and what is not, but definitely we know we have been living in the middle of an earthquake. 

Extended Statement and investigation interests

My current body of work seeks to question what happens in a variety of fields during this moment of change, when we all feel a little bit disoriented, anxious or curious about what is about to occur. I have been working for several years specifically about the importance of art institutions versus personal expression. So since last year it was impossible to avoid what was happening everywhere outside the studio, even at a personal level. In 2020 I was preparing my most important exhibition at Lima, and suddenly strong restrictions were declared, so I had to cancel it and be rescued by a military airplane sended by the Uruguayan government, because every airport was closed from one day to another in Peru.

This particular experience and the rest of facts we all know made me start seeking a way to express this state of mind into my painting. And made me investigate more about the basis of geometric painting in Latin America. That’s why I started to introduce this ¨glitch¨concept, I wanted to find the most minimal way of talking about all these things, without being literal. 

All this investigation got stronger when I went deeper in my roots as an uruguayan artist and discovered the importance of the MADI movement in modern art. They discovered that painting should not necessarily be conditioned by the rectangular canvas, on the contrary,  the canvas shape should follow the structure of the painting. With these two facts I found the need to work harder and deeper investigating about how a minimal change can affect the whole structure, working from the pictorial and sculptural field.

Condensed CV

Born: 1988, Montevideo, URUGUAY.

Visual Artist

Director at MAG, Espacio de Arte, Montevideo Uruguay.

Professor at Universidad Catolica del Uruguay (Licenciatura en Artes Visuales)



Selected Group and Solo Exhibitions

2021 – Glitched Space V, Solo Exhibition, Galería del Paseo, Punta del Este, Uruguay

2021 – Open Studio, Impakto Gallery, Lima, Peru

2021 – Barranguet Arts Residency, Solo Exhibition, Connecticut, USA

2021 – Swab Art Fair, Barcelona

2021 – Otra Art Fair, Buenos Aires, Argentina

2020 – Untitled Space V, Recoleto Creative, Solo Exhibition, Valencia

2020 – Alchemy, Solo Exhibition, Latchkey Gallery, NYC.
2020 – ROOM 45, Solo Exhibition, Programa Taide, Madrid.

2020 – Dúo, Galería Nueva, Madrid
2020 – Final Selection, Premio Paul Cezanne, Subte Municipal
2020 – Qué es Liminal, Group Exhibition, Espacio Ercilla 24, Madrid

2019 – JustMad Art Fair, Madrid, Solo Booth

2019 – JustLX Art Fair, Lisboa.

2019 – Art Lima art fair, Peru.

2019 – Evidencias, Solo Exhibition, Espacio de Arte Contemporaneo, Montevideo

2019 – Untitled Spaces III, Solo Exhibition, Galería Juan Risso, Madrid. 2019 – Art on Paper art fair, NY.

2018 – Pinta Miami Art Fair, Solo Booth, Platforms Curated Sections (Curador Roc Laseca).

2018 – Premio PAUL CEZANNE, Final Selection, Group Exhibition, EAC Museum, Montevideo, Uruguay.

2018 – Este Arte Art Fair 2018, Punta del Este, Uruguay.

2017 – Uruguay Contemporary Art, Group Exhibition, Tianjin Art Academy, China.

2017 – Este Arte Art Fair 2017, Punta del Este, Uruguay.

2016 – Temporada 22, Group Exhibition, EAC Museum, Montevideo, Uruguay.

2016 – SERES, Group Exhibition, Centro Cultural de Mexico, Montevideo, Uruguay.

2016 – Premio PAUL CEZANNE, Honorable Mention, Group Exhibition, EAC Museum, Montevideo, Uruguay.

2015 – RIZZO, FOGLINO, GARCIA CRUZ, Group Exhibition, Galeria Diana Saravia, Montevideo, Uruguay.

2015 – INVADIR SIN CONQUISTAR, Performance with Santi Senso, CCE, Montevideo, Uruguay.

2015 – RETRATO CONTEMPORANEO, Group Exhibition, Subte Museum, Montevideo, Uruguay.

2014 – ANDY NY Tribute Exhibition with Vicky Barranguet, New York, USA.

2014 – Inauguracion Marte Galería de Arte, Montevideo, Uruguay.

2014 – Galeria Diana Saravia, Embajada de Mexico, Group Exhibition, Montevideo, Uruguay.

2014 – TALKING BACK, Solo Exhibition, Sofitel Hotel Casino Carrasco, Montevideo, Uruguay.

2014 – Episodio 3, Group Exhibition, Pera de Goma, Montevideo Uruguay.

2014 – GARCIA CRUZ, Solo Exhibition, Interamerican Development Bank, Washington DC, USA.

2013 – CONVENTIONAL, Solo Exhibition, Embassy of Uruguay, Washington DC, USA.

2013 – Arte 58, Torre 58, Montevideo, Uruguay 2013 – Revolutum, A Hispanic Heritage Exhibition, Harlem School for the Arts, New York, USA.

2013 – Fernandez, Barranguet, Garcia Cruz, Dejavu Art and Fashion, New york, USA.

2013 – Arty Nights, BG MOCA Internacional, Portezuelo, Uruguay.

2012 – INMANENTE, Solo Exhibition, Diana Saravia Gallery, Montevideo, Uruguay.

2012 – Pink Spring 2012, World Trade Center, Montevideo, Uruguay.

2012 – Arte en Demolición II, Montevideo, Uruguay.

2012 – Marte Invita 2012, Marte Centro Cultural, Montevideo, Uruguay.

2011 – Arte en Demolición 2011, Montevideo, Uruguay.

2009 – Viñetas Sueltas 2009, Buenos Aires, Argentina.

2009 – Montevideo Comics 2009, Montevideo, Uruguay.

2006 – Cátedra de Alicia Goyena, Montevideo, Uruguay

2006 – Hotel San Rafael. Maldonado, Uruguay

2005 – XXIV Salón Leonístico de Artes Plásticas de la Juventud, Biblioteca Nacional, Montevideo, Uruguay.

2005 –Yo Diseño, Casablanca Arts Center. Montevideo, Uruguay

​Awards and recognitions

2021- Commission for the permanent Collection of Chicago Northwestern University

2021 – Carmen and Lluis Bassat award, at Swab Art Fair, Barcelona

2016 – Honorable Mention, Premio Paul Cezzane, Montevideo, Uruguay. 

2011 – Honorable mention ISUSA National Painting Contest, Montevideo, Uruguay.

2008 – 6th Prize, National Youth Painting Contest, Lions Club,Montevideo, Uruguay.

2008 – 2nd Prize , Montevideo Comics Drawing Contest, Montevideo, Uruguay.

2005 –  1st Prize, National Youth Drawing Contest, Lions Club,Montevideo, Uruguay.

2005 – 1st Prize, “Knock out a las drogas” Logo Contest, organized by Uruguayan Government.

2005 – 1st prize, Sprite Illustration Contest at Montevideo Comics 2005, Montevideo, Uruguay.

Cultural Managment and Teaching

Taller Garcia Cruz

Since 2013 creates TGC, Art School for young and adult students. Areas: Comics, Illustration, Drawing, Painting

MAG

Since 2013 is the Founder and Director of MAG, Multidisciplinary Visual Arts Space ( Prado, Uruguay).

UCU

Since 2015 works as Professor at Licenciatura de Artes Visuales (Universidad Católica del Uruguay)

Contact: Dcfamilyfoundation.com

Perez Art Museum PAMM
Pérez Art Museum Miami

GLADYS RAMIREZ NEW EXECUTIVE DIRECTOR AT CITY THEATRE

Gladys Ramirez New Executive Director of City Theatre
Gladys Ramirez New Executive Director of City Theatre

GLADYS RAMIREZ NEW EXECUTIVE DIRECTOR AT CITY THEATRE

Gladys Ramirez has a new significant career challenge, stepping into the role previously held by Susi Westfall, the founder of City Theatre, a fact that Ramirez is well aware of.

“In Miami, everyone knows Susi, so very big footsteps to fill,” says Ramirez. “Susi came to be at the helm of a large cultural institution in Miami when that wasn’t a thing.” Ramirez adds, “When I graduated from New World School of the Arts, there weren’t a lot of women in charge, much less Latin women. For me to be a Latina woman in this position now, I have a lot to live up to, and I don’t want to disappoint the community.”

A fixture in the Miami arts community theater, Ramirez realizes that so many members of the community, in one way or another, have been involved with City Theatre and says, “Susi has been wonderful about letting me do my thing and turn the chapter on to this new era of City Theatre. She’s been very encouraging and we’ve worked well together.”
Westfall will remain on the City Theatre’s Board of Directors and leaves the organization in more than capable hands. Ramirez’s life in theater began at the ripe old age of 10 when she was in the school production of “Annie.” But she wasn’t interested in playing the red-headed lead; she was a fan of another role.
“I saw Carol Burnett play Ms. Hannigan, and I auditioned and got the part in the school production. It was my first taste of theater in fifth grade, and that’s where so much of my personal passion comes from,” said Ramirez.
She continued performing in plays throughout high school, and her connection to City Theatre began shortly after when she participated in six seasons of their Shorts Gone Wild, their LGBT series. She was also working with Fantasy Theatre Factory.
“I was going wherever I could find work, and I kept getting hired back for Shorts Gone Wild, and I loved it. That experience allowed me to play a wide range of characters instead of being stereotyped to play the Latin girl,” said Ramirez.
Margaret Ledford, City Theatre’s Artistic Director, gave Ramirez her first opportunity to direct, and that led to five or six more directing positions.
Prior to taking over at City Theatre, she worked in community engagement and public programming at both ICA Miami in the Design District and the Norton Museum in West Palm Beach, where she was Director of audience engagement.
“All of this was a great learning experience. I got to see things from the other side, learn about organization and management, as well as managing larger budgets,” she said.
Then, like so many people, the pandemic changed things for her, and she felt she needed to get back to her first love, theater.
“I felt like I’d accomplished a lot. I knew I wanted to do my own thing, then Margaret and I started the conversation. She mentioned Susi was considering transitioning, and I came to City Theatre in October 2021 as general manager,” said Ramirez.
Over the course of that year when Ramirez was general manager, she says, “Susi began going over everything it took for the transition.”
Being in charge also comes with personal goals and missions which, as Executive Director, Ramirez has many.
She wants to put the “city” into City Theatre and invest in the community. As the launching pad for Hollywood darling Oscar Isaac, who did a Summer Shorts as well as the careers of other playwrights, Ramirez knows they have support around the country.
“My role now is the perfect storm, utilizing my community engagement and programming with theater background and making what we produce and how we present it a major investment,” she said.
That includes developing their successful City Reads program further, expanding it to other cities and counties and for other ages, ultimately developing community partnerships.
“We want to use our platform to extend the conversation. Those kinds of ideas are what we want to move forward with,” Ramirez said.
Also, taking a look at how their programs fit into one another and how they are reaching audiences even from a development standpoint, and continue the momentum of Give Miami Day where “what we raised for was phenomenal for our size,” she said.
Finally, “we need to work on the drain of talent both on stage and behind the scenes, what can we do to bring the theater community together to have these resources, have local people in these roles and find ways to collaborate with the theater community,” she said.
Ramirez is up to the task, saying, “I’m entering the stage in my life that I want to put my head down and do this, take ownership.”

Perez Art Museum PAMM
Pérez Art Museum Miami
Page 83 of 177
1 81 82 83 84 85 177
- Advertisement -
Stella Sarmiento Jewelry, cuban link chain
Miami Art

Recent Posts