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Un año más tarde se introdujo en el ámbito de la performance a partir de Parquedades (1987), un trabajo del artista José Alejandro Restrepo, que la desprendió absolutamente de las formas teatrales y de la noción convencional de ‘espectáculo’. Además, participó en exhibiciones y ferias internacionales como I Bienal de Valencia – The Body of Art Bienal de Valencia (2001), 51 International Art Exhibition – Always a little further La Biennale di Venezia (2005), 27° Bienal de São Paulo (2006).
","create_at":"2019-07-05T15:53:14.488Z","en_bibliography":"","en_biography":"María Teresa Hincapié (1956-2008) was a pioneer artist of performance and a very influential figure in Latin America. She won the first prize at the XXXIII National Salon of Artists of Colombia in 1990 with the work Una cosa es una cosa, a fine arts action that took her 12 hours and which placed her in the annals of Colombian art. For the second time in 1996 for the work Divine Proportion. She began her artistic career involved with theater and was part of the group “Acto Latino” from which she developed her own dance-theater-ritual inspired by oriental techniques. After traveling through Mexico, Europe, and Asia, Hincapié returned to Colombia and began a search for alternative spaces for her artistic expressions. At that time, she was linked with artists such as Doris Salcedo, José Alejandro Restrepo, and Álvaro Restrepo. Her version of Desde la huerta de los mudos (1986), a tribute to Federico García Lorca that she made in collaboration with Álvaro Restrepo, marked the beginning of the fusion between theater and visual arts that the artist developed throughout her work. A year later, a work by the artist José Alejandro Restrepo was introduced in the field of performance based on Parquedades (1987), which completely removed it from the theatrical forms and from the conventional notion of ‘spectacle.’ She also participated in international exhibitions and fairs such as I Bienal de Valencia – The Body of Art Biennial of Valencia (2001), 51 International Art Exhibition – Always a little further, La Biennale di Venecia (2005), and 27th Bienal de São Paulo (2006), among others.
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Promoviendo artistas establecidos y emergentes que han influenciado el desarrollo de la escena artística nacional, el programa expositivo de Casas Riegner apunta a introducir nuevos nombres al público local e internacional. Al extender visitas a artistas y curadores de otros países, busca también crear un espacio de intercambio cultural e incentivar la producción de nuevos discursos. Adicionalmente, el programa ha sido estructurado con el propósito de crear exhibiciones con un alto rigor conceptual e innovación formal que actúen como manifestaciones de procesos reflexivos.
Con una participación regular en algunas de las ferias más destacadas del mundo, entre ellas Art Basel Miami Beach, Art Basel, Frieze Londres y Frieze Nueva York, Casas Riegner se ha comprometido a promover la circulación del arte colombiano a nivel internacional, lo que le ha significado una reputación importante en la escena.
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Available Works by the Masters: Harry Abend, Narciso Debour, Carlos Cruz Diez, Gego (Gertrud Goldschmidt), Oswaldo Guayasamin, Mateo Manaure, Alejandro Otero, Mercedes Pardo, Jesús Soto, Oswaldo Vigas, Francisco Salazar, Victor Vasarely, Cornelis Zitman.
Cuban Work from Masters: Pedro Alvarez, Lolo Soldevilla, Luis Martinez Pedro, Manuel Mendive, Sandu Darie, Ernesto Briel, Salvador Corratgé, Wifredo Arcay, Alberto Menocal.
________________________________________
La Galería Díaz Mancini es un espacio de exposición de arte contemporáneo ubicado en el corazón de la Castellana; uno de los lugares más privilegiados de Caracas. Cuenta con una sólida trayectoria de más de 30 años asesorando coleccionistas en la adquisición de obras.
Obras Disponibles de los Maestros: Harry Abend, Narciso Debour, Carlos Cruz Diez, Gego (Gertrud Goldschmidt ), Oswaldo Guayasamin, Mateo Manaure, Alejandro Otero, Mercedes Pardo, Jesús Soto, Oswaldo Vigas, Francisco Salazar, Victor Vasarely, Cornelis Zitman.
Obra Cubana de Maestros: Pedro Alvarez, Lolo Soldevilla, Luis Martinez Pedro, Manuel Mendive, Sandu Darie, Ernesto Briel, Salvador Corratgé, Wifredo Arcay, Alberto Menocal.
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Su obra hace parte de las colecciones del Banco de la República de Colombia y de la Colección JUMEX y de la Fundación Cisneros Fontanals – CIFO, entre otras. Actualmente está realizando su doctorado en la Universidad de Barcelona, donde vive y trabaja.
Natalia Castañeda (Manizales, 1982) approaches landscape through contemplation, a method that has allowed her to understand the environment and the shapes that integrate the territory. She relates to nature, understood as a sublime entity, through painting, drawing and sculpture, as she wonders about the ephemerality of the natural elements, contrasting it with the permanence of the objects created by human beings.
Her work is part of the collections of the Banco de la República de Colombia and the JUMEX Collection and the Fundación Cisneros Fontanals - CIFO, among others. He is currently doing his doctorate at the University of Barcelona, where she lives and works.
Marión Gallery es un espacio cultural que se propone dar cabida a nuevas formas de arte contemporáneo, así como favorecer y estrechar los vínculos entre las obras
y el espectador.
Mantenemos una sala de exposición permanente dedicada al Maestro Carlos Cruz-Diez.
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In 2008, the gallery’s headquarters were transferred to its new space of\napproximately 700 m², distributed in three stories. On the ground floor the\nmain exhibition room measuring 140m² and 6,8 meters in height was designed to\nhouse large scale installations. On the second floor another exhibition room of\n96 m² leads to a wide terrace, where a container was placed, destined to host\nvideo-installations with capacity for 20 spectators.
Eva Olivetti (Berlín, 1924 - Montevideo, 23 de junio de 2013) fue una pintora uruguaya.
Biografía
Sus padres, Karl Brager y Kähte Jacobsohn, huyeron de la Alemania nazi en 1939 y la familia se radicó en la ciudad de Montevideo.
En 1948 se casó y adoptó el apellido de su marido, el ingeniero Mario Olivetti, inmigrante italiano, hermano de la artista Linda Kohen. De 1949 a 1956 cursó la licenciatura en Letras en la Facultad de Humanidades y Ciencias de la Universidad de la República. En 1956 ingresó al Taller Torres García para aprender cerámica con el artista catalán Joseph Collell y a partir de 1963 estudió pintura con José Gurvich.
Se dedicó al dibujo y a la cerámica, pero fundamentalmente a la pintura. Desde 1960 y hasta sus últimos años, realizó numerosas exposiciones de su obra en Uruguay. En 2003 le fue otorgado el Premio a la Trayectoria del 38º Salón Municipal de Montevideo.
Pintó retratos, flores y naturalezas muertas, pero su labor más destacada fue como paisajista. Paisajes urbanos, calles desiertas, plazas, árboles, campos y playas, de pincelada leve, con una escala tonal apaciguada, poblada de dorados y marrones de pequeñas variaciones cromáticas. Discípula indirecta de Joaquín Torres García, recibió a través de las enseñanzas de Gurvich un sentido único de construcción sensible que dará estructura a la intimidad de su obra.
","create_at":"2019-06-17T20:34:38.933Z","datebirthday":"1924-01-01T00:00:00.000Z","en_bibliography":"","en_biography":"","fullname":"Eva Olivetti","id":"5d07f95ed7a7fefdb54984e2","lastName":"Olivetti","name":"Eva ","updated_at":"2019-06-17T20:34:38.933Z"},{"__v":0,"_id":"5c64a3edefd9fd4a7478e093","bibliography":"","biography":"","create_at":"2019-02-13T23:10:37.554Z","en_bibliography":"","en_biography":"","fullname":"Linda Kohen","id":"5c64a3edefd9fd4a7478e093","lastName":"Kohen","name":"Linda","updated_at":"2019-02-13T23:10:37.554Z"},{"__v":0,"_id":"5d07f871d7a7fefdb54984e0","bibliography":"","biography":"Américo Spósito
La trayectoria de Américo Spósito se caracterizó por ser irregular en cuanto a su actividad pública.
Su accionar y su reconocimiento fueron muy significativos durante los años cincuenta y sesenta, décadas de importante participación en salones, bienales y premios. Sin embargo, en los años setenta, como la gran mayoría de la comunidad artística durante la dictadura militar, el artista vivió un hiato: se replegó en su vida privada y dejó de exponer y de participar en concursos públicos, aunque, como muchos, continuó con la esencial actividad docente. Posteriormente, durante los años ochenta y noventa, fue reconocido como maestro y referencia fundamental dentro de la plástica local.
Lo expresado surge de la información recogida en diversas publicaciones, libros y catálogos, pero al revisar con atención las variadas biografías y currículos del artista publicados hasta la fecha, encontramos incoherencias y múltiples contradicciones. Estas van desde la fecha de nacimiento hasta la cantidad de exposiciones individuales realizadas. El caso extremo de confusión es el del currículo aparecido en el catálogo del Premio de Pintura NMB Bank, realizado en Montevideo a finales de 1989, donde se expresa que Spósito no había realizado ninguna exposición individual hasta entonces. Como sabemos, por lo menos había hecho dos.
Seguidamente presentaremos una breve semblanza de vida que nos permita ubicar al artista en el contexto histórico nacional y regional, y a la vez despejar de forma general las contradicciones y los errores mencionados.
Américo Spósito nació en Montevideo el 29 de marzo de 1924, en una familia de origen calabrés. Con 11 años ingresó a la Scuola Italiana, donde fue alumno del pintor italiano Enzo Domestico Kabregu (Acquaformosa, 1906 - Montevideo, 1972), quien durante algunos años (1934-1939) fue docente en ese establecimiento. En 1938 obtuvo una beca para estudiar en el Círculo de Bellas Artes, donde recibió la enseñanza de varios maestros, entre ellos José Cuneo Perinetti (Montevideo, 1887- Bonn, 1977).
Durante esos años de juventud vivió la bohemia del país feliz. Entre sus amigos se encontraban Cabrerita (Raúl Javier Cabrera, Montevideo, 1919 - Santa Lucía, 1994), que también había sido alumno del Círculo de Bellas Artes, y los poetas Pedro Piccatto (Montevideo, 1908-1944) y José Parrilla (Montevideo, 1923 - Levens, 1994). Igualmente, en esos años frecuentó al pintor de origen italiano Alfredo De Simone (Latarico, 1895 - Montevideo, 1950).
Así podemos advertir que Spósito, desde temprana edad y desde los primeros años de formación, tuvo contacto con el universo de las artes visuales y de las letras, actividades que cultivaría durante toda su vida.
En 1944 se produjeron dos eventos fundamentales en su vida: ingresó al Taller Torres García, invitado por Gonzalo Fonseca, y se recibió de profesor de dibujo. Permaneció en el taller hasta los 24 años; lo abandonó al mudarse a la ciudad de Melo para ejercer como profesor de dibujo en liceos públicos. Esa tarea docente le proporcionaría un sustento económico sin alejarlo de las artes visuales ni de las letras.
En Melo se enteró, unos meses después de su llegada, de la muerte del maestro Torres García.
En esa misma ciudad ingresó en la agrupación cristiana Testigos de Jehová, en la cual permanecería el resto de su vida.
En 1955 fue invitado a participar en el envío uruguayo para la tercera Bienal de San Pablo, que fue organizado por la Comisión Nacional de Bellas Artes y comisariada por el arquitecto Raúl Lerena Acevedo. Con obras de 16 artistas, de alguna forma daba cuenta del auge de la abstracción geométrica en la vanguardia uruguaya, en sus múltiples variantes. En efecto, el envío estaba integrado por obras de artistas integrantes del Grupo de Arte No Figurativo, fundado en 1952, que nucleó a los exponentes más destacados de la abstracción concreta-madí, como José P. Costigliolo (Montevideo, 1902-1985), María Freire (Montevideo, 1917-2015) y Antonio Llorens (Buenos Aires, 1920 - Montevideo, 1995).
También se integraron las obras de algunos participantes de la exposición 19 Artistas de Hoy, realizada en 1955, que presentó una visión más amplia de la producción local dentro de las prácticas de la figuración y la abstracción, como fue el caso de los artistas Norberto Berdía (Montevideo, 1900-1983), Julio Verdié (Montevideo, 1900-1988), Elizabeth Thompson (Montevideo, 1930-2010), Teresa Vila (Montevideo, 1930-2010) y Ofelia Oneto y Viana (Montevideo, 1929).
El envío de Spósito fue modesto: dos abstracciones sobre papeles de 75 × 95 centímetros, realizadas con grafito y acuarela, en tonos marrones y negros, de una extrema originalidad. En estas obras se sintetizaban las investigaciones formales realizadas durante la primera mitad de la década de los cincuenta, donde el dibujo ocupó un espacio fundamental: estructuras dinámicas que servirían como base para las obras realizadas durante las décadas siguientes. Por estas obras el artista fue reconocido con el premio adquisición de la empresa Arno, una de las 15 firmas e instituciones que adquirían obras tras la entrega de los premios oficiales y las donaban a la colección de la Bienal.
Después de este reconocimiento, que Spósito recibió a sus 31 años, a fines de los años cincuenta volvió a Montevideo, donde en 1958 fundó, junto con Óscar García Reino (Montevideo, 1910-1993), Carlos Páez Vilaró (Montevideo, 1923 - Punta Ballena, 2014), Miguel Ángel Pareja (Montevideo, 1910-1993), Raúl Pavlovsky (Haifa, 1918 - Montevideo, 1998), Alfredo Testoni (Montevideo, 1919-2003) y Julio Verdié, el Grupo 8. Este grupo no siguió una estética definida y desarrolló, durante los pocos años en que se mantuvo activo, una intensa actividad local e internacional, con exposiciones en Montevideo, Buenos Aires, El Cairo y Damasco, entre otras ciudades.
Entrada la década de los sesenta, Spósito realizó una muestra individual en el Instituto General Electric, donde presentó por primera vez la serie de obras llamadas Ceibos, en la que trabajaría hasta los años ochenta. A fines de los sesenta ganó una beca que le permitió viajar a Europa; permaneció en París y pudo ir a Londres, Bruselas, Ámsterdam y Madrid, donde visitó lugares históricos y museos. Ese viaje fue fundamental para completar la formación visual y teórica del artista, porque le permitió conocer obras y lugares referentes de la cultura universal y a la vez tener contacto con la producción artística más contemporánea, como fue el caso de la abstracción óptico-cinética, que tenía como capital París. Asimismo, pudo desarrollar y perfeccionar su pensamiento teórico, que plasmó en dos libros objeto.
Después del triunfo del no en el plebiscito de noviembre de 1980, aún dentro de la dictadura cívico-militar, se produjo lentamente una apertura en el ambiente de la cultura, y en ese contexto de optimismo ante la posibilidad de recuperar una vida democrática los artistas plásticos retomaron paulatinamente su actividad pública.
En junio de 1983, Spósito realizó otra importante muestra individual, donde presentó por segunda vez obras recientes de la serie Ceibos. Este evento fue organizado por María Luisa Torrens en el Museo de Arte Contemporáneo, en su sede de la Intendencia Municipal de Montevideo. También durante los años ochenta experimentó con la escultura, aunque nunca logró exponer estas obras.
Posteriormente, ya en la década de los noventa y comenzado el nuevo siglo, su obra acentuó su carácter abstracto y a la vez profundamente personal, y Spósito fue reconocido por una generación de jóvenes creadores y por el medio local como un gran maestro. Esto se materializó simbólicamente en la obtención en 1991 del Candelabro de Oro de la B’nai B’rith del Uruguay por su trayectoria, así como en la invitación a participar en el incipiente Premio Figari, otorgado por el Banco Central del Uruguay, que también apuntaba al reconocimiento a la trayectoria de un artista, pero que en su primera edición de 1995 fue un concurso con penosas consecuencias.
Por último, hay que destacar la exposición individual de carácter antológico, curada por Mario Sagradini, realizada en el Museo Blanes en julio y agosto de 1996, que permitió confirmar la singularidad de su proyecto artístico.
Américo Spósito nos abandonó físicamente el 20 de abril del 2005, pero hasta ese momento nunca dejó de pintar y reflexionar, como lo revelan los múltiples escritos encontrados en su biblioteca.
The mission of the Gurvich Museum is to promote three concepts: celebration, context and challenge, the three of them define our institutional profile. In this way, it is important to detail the path we have been traveling through, understanding that it is what leads us to achieve it:\n\n*Create awareness in the community of the value of the artwork of José Gurvich as part of the national patrimonial heritage.\n*Investigate, conserve, recover and treat contents linked to the life and work of the artist, favoring reflexive analysis by specialists.\n*Provide consulting services, study, and information to the community, linked to the task that concerns us.\n*Educate, and facilitate the access of the population to the cultural and artistic products generated through the museum, both inside and outside.\n*Maintain an updated and dynamic agenda that allows capturing diverse interests and populations, always favoring a quality cultural exchange.\nOur main interest is to emphasize on generating significant museum experiences that promote dialogue, enjoyment, reflection and delight on the the visiting public. It is also an interest for us to reach more people, strengthening the actual democratization of the contents addressed. At the same time, we aim that the actions carried out by the museum encourage Uruguayan knowledge and responsibility to preserve, enhance and enjoy the cultural heritage that is offered.","descriptionEs":"La misión del museo Gurvich radica en potenciar tres conceptos: celebración, contexto y desafío, en tanto definen el perfil institucional. Para esto, es relevante poder detallar el camino por el que venimos transitando comprendiendo que es el que conduce a lograrlo:
Nuestro mayor interés es hacer énfasis en generar experiencias museísticas significativas que promuevan el diálogo, el disfrute, la reflexión y el deleite por parte del público visitante, llegando cada vez a más personas, fortaleciendo la democratización real de los contenidos abordados. A su vez, apuntamos a que las acciones llevadas a cabo por el museo incentiven el conocimiento y la responsabilidad de los uruguayos por preservar, acrecentar y disfrutar el patrimonio cultural que se ofrece.
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Desarrolló una larga y fecunda trayectoria como artista en dibujo, pintura, grabado y escultura; y como docente en las mismas disciplinas.","endDate":"2020-03-11T03:00:00.000Z","name_en":"Tribute conference about Anhelo Hernández","name_es":"Conferencia homenaje sobre Anhelo Hernández","startDate":"2020-03-11T03:00:00.000Z","updated_at":"2020-02-28T19:52:37.777Z"},{"__v":0,"_id":"5e595d1e71952bb755071f84","create_at":"2020-02-28T18:34:06.002Z","desEn":"\nOn March 12, the Gurvich Museum presents the exhibition of Marta Morandi \"Intimae\", from intimate Latin. It is an anthological exhibition of the artist born in Montevideo in 1936.","desEs":"El próximo 12 de marzo, el Museo Gurvich presenta la exposición de Marta Morandi “Intimae”, del latín íntima. Es una muestra antológica de la artista nacida en Montevideo en 1936. ","endDate":"2020-05-20T03:00:00.000Z","name_en":"INTIMAE, Marta Morandi","name_es":"INTIMAE, Marta Morandi","startDate":"2020-03-12T03:00:00.000Z","updated_at":"2020-02-28T18:34:06.002Z"},{"__v":0,"_id":"5e59634571952bb755071f86","create_at":"2020-02-28T19:00:21.000Z","desEn":"Delmonte is an artist who feels part of a plastic family that works beyond the limits of everyday reality. He does it by privileging the gesture, the symbol and the abstraction. Welcome to this wonderful exhibition","desEs":"Delmonte se siente parte de una familia plástica que trabaja más allá de los límites de la realidad cotidiana. Y lo hace privilegiando el gesto, el símbolo y la abstracción. Bienvenidos a esta maravillosa exhibición.","endDate":"2020-07-23T03:00:00.000Z","name_en":"Alberto Delmonte at the Gurvich Museum","name_es":"Alberto Delmonte en el Museo Gurvich","startDate":"2020-05-28T03:00:00.000Z","updated_at":"2020-02-28T19:00:21.000Z"}],"exporttableToMagazin":true,"fairStatus":false,"fax":"","id":"56992","imagen":[{"__v":0,"_id":"5d07edd7d7a7fefdb54984da","caption_en":"Guided tours at the Gurvich Museum","caption_es":"Visitas guiadas en el Museo Gurvich","height":200,"path":"uploads/2019-06-17T19:47:02.292Zvisita.png","slug_en":"","slug_es":"","width":200},{"__v":0,"_id":"5beb5be05662fe54fe804b58","caption_en":"","caption_es":"","path":"uploads/2017/03/_dsc3575.jpg","slug_en":"","slug_es":""},{"__v":0,"_id":"5beb5be05662fe54fe804b5a","caption_en":"","caption_es":"","path":"uploads/2017/03/_dsc3544.jpg","slug_en":"","slug_es":""}],"latitude":"-34.9071","logo":{"__v":0,"_id":"5c912479d6ab6d9821fc4aa5","height":200,"path":"uploads/2019-03-19T17:18:49.599ZMuseo Gurvich.jpeg","width":200},"longitude":"-56.2037","name":"Museo Gurvich","phone":"(+598) 2 9157826","postStatus":"published","showOnguide":true,"slug":"museo-gurvich","startIssueDate":"2018-11-13T23:17:50.877Z","type":"museum","updated_at":"2018-11-13T23:17:50.877Z","workssale":false,"zip":"11000"},"5beb5b9e5662fe54fe8044d5":{"EmailInternal":"info@espaciomonitor.com","SendMailInfo":false,"Website":"www.espaciomonitor.com","WorkingEn":"Tuesday - Saturday 10 am - 6 pm, Sunday 10 am - 4 pm","WorkingEs":"Martes a sábado 10 am - 6 pm, domingo 10 am - 4 pm","__v":7,"_id":"5beb5b9e5662fe54fe8044d5","address":"Centro de Arte Los Galpones. 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80m2 Livia Benavides es una galería especializada en arte conceptual peruano. Abrió sus puertas en 2012 como respuesta a la escasa infraestructura artística de Lima. Desde entonces, el objetivo principal de la galería ha sido el desarrollo de discursos críticos sobre temáticas contemporáneas. Nos interesan voces, prácticas y estéticas diferentes, centradas en la reflexión política y social.
Promoviendo obras tanto de artistas establecidos como emergentes, que han influenciado la escena artística local, buscamos introducir nuevos nombres a la escena internacional. Queremos construir puentes y participar a un intercambio que se extienda más allá de nuestras fronteras.
Livia Benavides, de 80m2, aboga por espacios poco convencionales que trasciendan la experiencia tradicional de la galería de arte. De esta manera, espera alcanzar un espectro más amplio de la comunidad y redefinir el concepto de espacio expositivo.
","email":"galeria80m2@gmail.com","endIssueDate":"2018-11-13T23:17:51.614Z","events":[{"__v":0,"_id":"5dddbb8897510ff444cab3ff","create_at":"2019-11-26T23:55:52.393Z","desEn":"Gilda Mantilla and Raimond Chaves' solo show\nHeat melts styles doesn’t so much allude to a specific geographic area –the Amazon– or a particular forest or city. Rather, it questions the ways that these places are constructed and subsequently interpreted. ","desEs":"Muestra individual de Gilda Mantilla y Raimond Chaves\nEl proyecto no aluden tanto a un área geográfica específica, el Amazonas, o un bosque o ciudad en particular. Más bien, cuestiona las formas en que estos lugares se construyen y posteriormente se interpretan.","endDate":"2020-02-20T05:00:00.000Z","name_en":"Heat melts styles","name_es":"El calor derrite los estilos","startDate":"2019-11-12T05:00:00.000Z","updated_at":"2019-11-26T23:55:52.393Z"},{"__v":0,"_id":"5dddbbb897510ff444cab401","create_at":"2019-11-26T23:56:40.690Z","desEn":"Pilar Quinteros' solo show\nWar trophies that never existed\nDonations exchanged by copies\nBig lost lootings\nChile is not what it claims to be.","desEs":"Muestra individual de Pilar Quinteros\nTrofeos de guerra que nunca existieron \nDonaciones cambiadas por copias \nGrandes saqueos extraviados\nChile no es lo que dice ser.","endDate":"2020-02-20T05:00:00.000Z","name_en":"Prestigering Tigers","name_es":"Tigres Prestidigitadores","startDate":"2019-11-12T05:00:00.000Z","updated_at":"2019-11-26T23:56:40.690Z"},{"__v":0,"_id":"5dd9a96a97510ff444cab308","create_at":"2019-11-23T21:49:30.575Z","desEn":"Armando Andrade Tudela, Gabriel Acevedo Velarde, William Córdova, Fernando Bryce, Iosu Aramburu, Ximena Garrido-Lecca, Elena Tejada-Herrera, Sandra Gamarra, Fátima Rodrigo and Marco Pando.","desEs":"Armando Andrade Tudela, Gabriel Acevedo Velarde, William Córdova, Fernando Bryce, Iosu Aramburu, Ximena Garrido-Lecca, Elena Tejada-Herrera, Sandra Gamarra, Fátima Rodrigo y Marco Pando.","endDate":"2019-12-07T05:00:00.000Z","name_en":"Nada Miami","name_es":"Nada Miami","startDate":"2019-12-05T05:00:00.000Z","updated_at":"2019-11-23T21:49:30.575Z"},{"__v":0,"_id":"5dddbb4d97510ff444cab3fd","create_at":"2019-11-26T23:54:53.929Z","desEn":"Gabriel Acevedo Velarde, Fernando Bryce, José Vera Matos, Ximena Garrido-Lecca and Teresa Burga","desEs":"Gabriel Acevedo Velarde, Fernando Bryce, José Vera Matos, Ximena Garrido-Lecca y Teresa Burga","endDate":"2020-03-01T05:00:00.000Z","name_en":"ARCOmadrid","name_es":"ARCOmadrid","startDate":"2020-02-26T05:00:00.000Z","updated_at":"2019-11-26T23:54:53.929Z"}],"exporttableToMagazin":true,"fairStatus":false,"fax":"","id":"58136","imagen":[{"__v":0,"_id":"5beb5be15662fe54fe804bb8","caption_en":"","caption_es":"","height":2633,"path":"uploads/2019-03-07T16:50:25.001Z80M2 Livia Benavides.jpg","slug_en":"","slug_es":"","width":2633}],"latitude":"-12.1453822","logo":{"__v":0,"_id":"5c814bc81fb50e83654da658","caption_en":"","caption_es":"","height":200,"path":"uploads/2019-03-07T16:50:16.466Z80M2 Livia Benavides.png","slug_en":"","slug_es":"","width":200},"longitude":"-77.0261342","name":"80M2 Livia Benavides","phone":"(511) 25 29 246/56","postStatus":"published","showOnguide":true,"slug":"80m2-livia-benavides","startIssueDate":"2018-11-13T23:17:51.614Z","type":"art-gallery","updated_at":"2018-11-13T23:17:51.614Z","workssale":true,"zip":"04"},"5beb5b9f5662fe54fe804529":{"EmailInternal":"servandoartgallery@gmail.com","SendMailInfo":true,"Website":"www.servandogaleria.com","WorkingEn":"Monday - Friday 9 am - 5 pm Saturday 9 am - 1 pm","WorkingEs":"Lunes a viernes 9 am - 5 pm Sábado 9 am - 1 pm","__v":16,"_id":"5beb5b9f5662fe54fe804529","address":"Calle 23 Esq. a 10 No. 1151. Vedado Plaza de la revolución","address2":"","artists":[{"__v":0,"_id":"5c12c5e9447951e3953d030e","bibliography":"","biography":"Estudió artes visuales en la Academia de Bellas\nArtes San Alejandro (2004) y luego en el Instituto Superior de Arte (2010), en\nLa Habana, Cuba. Actualmente trabaja como artista independiente y como profesor\nde Fotografía Documental en La Habana para la Escuela de Arte Tisch, de la\nUniversidad de Nueva York, en el Departamento de Programas Especiales en el\nExtranjero.
Ha tenido exhibiciones personales en galerías como\nArtis 718, La Habana, Cuba; Galería Servando, La Habana, Cuba; Houston Center\nfor Photography, Houston, USA; Centro de Desarrollo de las Artes Visuales, La\nHabana, Cuba; Ludwig Foundation of Cuba, La Habana; Galería Juan David, Centro\nCultural Cinematográfico Yara, La Habana, Cuba; Centro Provincial de Diseño y\nArtes Visuales, Luz y Oficios, La Habana, Cuba; Fototeca de Cuba, La Habana.
También ha participado en numerosas muestras\ncolectivas en Cuba, USA, México, Francia, Bélgica y Cambodia. En espacios como:\nLudwig Forum Aachen, Alemania; The Museum of Fine Arts, Houston, USA; HALLE 14\n— Centre for Contemporary Art, Leipzig, Alemania; ROSPHOTO, Saint Petersburg,\nRusia; Galería Habana, La Habana, Cuba; Fábrica de Arte Cubano, La Habana,\nCuba; Couturier Gallery, LA, USA; Fabian & Claude Walter Gallery, Zúrich,\nSuiza; Ludwig Museum Koblenz, Alemania; Robert Mann Gallery, NY, USA; Magnan Metz Gallery, NY, USA;\nHelen Day Art Center, Stowe, Vermont, USA; Pingyao, China; Kristiansund,\nNoruega; Quai Sisovath, Phnom Penh, Instituto Francés de Cambodia; Lake Forest\nCollege, Illinois, Chicago; Fontaine Obscure Gallery, Aix en Provence,\nProvence, France; entre otros.
Born\nin Havana, Cuba, Adrian Fernandez studied visual arts at the San Alejandro Fine\nArts Academy (2004) and later at the Superior Institute of Arts (2010) in\nHavana. He trained at The Ludwig Foundation of Cuba and New York Univesity,\nTisch School of the Arts from 2010 to 2012 in documentary photography and film\nmaking.
Early\nin his art career, he began to practice with photographic media, becoming later\nhis main expressive instrument. His work develops from the use of black and\nwhite with documentary perspective, evolving in later years towards studio\nphotography and the use of digital media as well as color photography. He\ncurrently works as a visual artist and a lecturer on Documentary Photography\nfor New York University, Tisch School of the Arts.
His\nwork has been shown at the Pingyao International Photo Festival, China; Nordic\nLight International Photography Festival; PhotoAix Festival; Photoquai 2011\nBiennial in the Musée du Quai Branly;\nthe Houston Center for Photography; Photo Forum 2011, Museum of Fine Arts\nHouston; Phnom Penh Photo Festival, The\nArt of Photography Show, San Diego; Ludwig Forum Aachen, Germany; The Museum of\nFine Arts, Houston, USA; HALLE 14 — Centre for Contemporary Art, Leipzig,\nAlemania; ROSPHOTO, Saint Petersburg, Rusia; Habana Gallery, Havana, Cuba;\nFábrica de Arte Cubano, Havana, Cuba; Couturier Gallery, LA, USA; Fabian &\nClaude Walter Gallery, Zúrich, Suiza; Ludwig Museum Koblenz, Germany; Robert\nMann Gallery, NY, USA; Magnan Metz Gallery, NY, USA; Helen Day Art Center,\nStowe, Vermont, USA; Kristiansund, Noruega; Quai Sisovath, Phnom Penh, Lake\nForest College, Illinois, Chicago; Fontaine Obscure Gallery, Aix en Provence,\nProvence, France; among others.
Nació en
Ha realizado numerosas\nexposiciones personales y ha participado en más de 70 muestras colectivas en\nCuba, España, Alemania, Rumanía, EU, Brasil, México y Perú. Entre los\nreconocimientos recibidos se encuentra \nel Premio Unión Latina a la Creación Joven en Artes Plásticas 2005; Premio\nen el V Salón de Instalaciones Juan Francisco Elso 2006, Galería Mariano\nRodríguez, Cuba; Premio en el XI Salón de Arte Erótico 2005, Galería Fayad\nJamís, Cuba; Premio Especial de Académica 2001, Galería de Luz y Oficios, Cuba.\nSu trabajo ha sido expuesto también en Ferias internacionales de Arte entre las\nque destacan: PArC, ArtMiami,\nArtBo, ArtMadrid, Feria Internacional de Arte Contemporáneo de Marbella,\nasí como en la Bienal Europea del libro y Bienal de La Habana.
Entre sus principales\ncolecciones destacan: Consejo Nacional de las Artes Plásticas, Cuba; CIFO (Cisneros Fontanals Art Foundation); Pérez Art\nMuseum Miami (PAMM); Museo del vidrio en Tacoma, Washington, USA.
She lives and works in Havana,\nCuba. Graduated from San Alejandro Academy and afterwards of the Higher\nInstitute of Art (ISA), Havana, Cuba.
His work has been exhibited in numerous solo\nshows in Cuba and abroad. She has participate\nin more than seventy group exhibitions, among which stand out those related\nwith the Havana Biennial, as well as those made in the Freies Museum of Berlin,\nMeridian Gallery (Society for Art Publications of the Americas), San Francisco,\nCalifornia, U.S.A.; Galería 904 in Mexico, and in the Satu-Mare Museum of Art\nof Rumania.
Among the main awards received\nare: National Prize Unión Latina to Young Creation in Plastic Arts 2005-2006,\nPrize of the 5th Salon of Installations “Juan Francisco Elso”, 2006, and\nSpecial Prize of Académica 2001 granted by Luz y Oficios Gallery. His work is\npart of the Cisneros Fontanals Art Foundation (CIFO) Collection, U.S.A., of the\nSatu-Mare Museum of Art of Rumania, and Pérez Art\nMuseum Miami (PAMM).
Actualmente reside y trabaja en La Habana.
Ha realizado exposiciones personales en galerías\ncomo Galleria Art Forum Contemporary, Boloña; Galería Servando, La Habana,\nCuba; La Fototeca de Cuba, La Habana, Cuba; Galería Habana, La Habana, Cuba;\nGalería El Apartamento, La Habana, Cuba; entre otras.
Su obra también ha sido expuesta en exposiciones\ncolectivas en espacios como Galleria Art Forum Contemporary, Boloña; IDB\nCultural Center, Washington, USA; Estudio Figueroa-Vives/Embajada de Noruega,\nLa Habana; Robert Mann Gallery, New York, USA; galería Villa Manuela, La\nHabana, Cuba; Tyler Art Gallery, Oswego, New York, USA; Museo del Ron, La\nHabana, Cuba; Centro de Desarrollo de las Artes Visuales, La Habana, Cuba; Arte\nAmérica International Art Fair, Miami, USA; Co-Lab, Copenhague, Dinamarca;\nHunterdon Museum of Arts, New Jersey, USA; Alvar Aalto Art Museum, Finland;\nExit Art, New York, USA; University of Brighton, UK; Centro de Arte Contemporáneo\nWifredo Lam, La Habana, Cuba; Silvana Facchini Gallery, Miami, USA; Fondazione\nItaliana per la Fotografía, Turín; Galería 106, Austin, Texas; Museum of\nPhotography, Tel Aviv, Israel.
Ha participado en festivales internacionales en\nRusia, México, Colombia, Francia, USA, y UK. También le han sido otorgados\nvarios premios y residencias artísticas como el Habana Cultura Visual Art\nProject Fellowship, Havana-Paris (2010); el Premio Fotográfico Casa de las\nAméricas-CLACSO, La Habana (2009); la Residencia Batiscafo, La Habana (2006); y\nla residencia para artistas Kunsthochschule für Medien, Köln (2002).
Lives and works\nin Havana, Cuba. Alejandro Gonzalez is concerned about issues such as\nindividual liberties, power and simulation. He is essentially a photographer,\nbut not at all in the traditional sense. He uses photography as a tool to\ngenerate works with a solid conceptual structure in tune with the sensibility\nof contemporary art, especially since winning a scholarship at the Kunsthochschule\nfur Medien in Koln, Germany, in 2002.
In 2019 Gonzalez represented Cuba at the International\nPhotography Festival in Kyoto, Japan (along with Korda and his mythical photos\nof Che Guevara) being the youngest of the three Cubans who have participated. He\nhas exhibited his work in different solo shows in galleries such as Galleria\nArt Forum Contemporary, Boloña; Servando Gallery, Havana, Cuba; La Fototeca de\nCuba, La Havana, Cuba; Habana Gallery, Havana, Cuba; El Apartamento Gallery, Havana,\nCuba; among others.
His work was part of Adiós Utopía,\nthe last major retrospective exhibition of contemporary curated Cuban art\nshowed on world class international museums. It has also been exhibited –among\nothers– at the Alvar Aalto Museum in Finland, at the Houston Museum of Fine\nArts, the Quai Branly Museum in Paris and the National Museum of Fine Arts in\nHavana, among others. He has participated in International festivals in Russia,\nMexico, Colombia, France, USA, y UK. He has won important awards such as the\nHabana Cultura Visual Art Project Fellowship, Havana-Paris (2010); The\nPhotographic Award Casa de las Américas-CLACSO, Havana (2009); Batiscafo\nResidency, Havana (2006); and the Kunsthochschule für Medien Residency, Köln\n(2002).
It\nis part of collections such as those of the Museum of Latin American Art of Los\nAngeles, the Walker Art Center, among others. He is considered an indispensable\nphotographer in the contemporary Cuban art scene and is one of the few who\nmoves freely between the universe of traditional photography and the world of\nconceptual art.
Graduado\nde The Royal Institute of Art (2012, Suecia) y del Instituto Superior de Arte\nde La Habana, Cuba (2013).
Entre sus exposiciones personales destacan “El acto total”\n(2019, Colegio de Arquitectos, Galleria Continua, La Habana, Cuba); “Contra los poetas” (2017, Galería Servando,\nCuba), “It´s Useless” (2016, Museo Droguería Johonson, Cuba), “Los síntomas\ndel engaño” (2015, Museo Nacional de Bellas Artes de Cuba). En el caso de\nproyectos colectivos pueden citarse “Nido sin árbol” (2016, Antiguo Colegio de\nArquitectura de La Habana, Cuba), “Por el dos” (2014, Centro de Desarrollo de\nlas Artes Visuales, Cuba), “Agua salada” (2014, Centro Hispanoamericano de\nCultura, Cuba), “The Silent Shout: Voices in Cuban Abstraction” (2013,\nArtSpace/Virginia Miller Galleries, USA), “Spring exhibition” (2012, The Royal\nInstitute of Art, Suecia), “Arte 10/Muestra de Video Arte Cubano” (2010, X\nBienal de Lisboa, Portugal) y “Esporas” (2010, Pabellón Cuba, Cuba).
Su obra ha sido\nexpuesta además en muestras colectivas en la UNAIC Colegio de Arquitectura (con\nGalleria Continua), La Habana; en el Centro de Desarrollo de las Artes\nVisuales; en Galería Evolución, Lima, Perú; en el 6to Salón de Arte Cubano\nContemporáneo (CDAV), La Habana; en el Centro Hispanoamericano, La Habana; en\nArtSpace/Virginia Miller Galleries, Miami, USA; en The Royal Institute of Art,\nEstocolmo, Suecia; en Sturevägen 9, Estocolmo, Suecia; en la 10ma Bienal de\nPortugal, Lisboa, Portugal; en Factoría Habana, La Habana; en Galería Espacio\nAglutinador, La Habana.
También ha participado en eventos como el Proyecto circo\n(Proyecto internacional de video arte), Galería 23 y 12, La Habana; y el\nFestival internacional de video arte de Camagüey. Ha sido merecedor de la Beca\nde intercambio en Kungl. Konsthögskolan / The Royal Institute of Art,\nEstocolmo, Suecia.
Lives and works in Havana, Cuba. He got graduated from\nthe University of Arts (ISA), Havana, Cuba (2013), from the Royal Institute of\nArt in Stockholm, Sweden (2012), and from the Professional Academy of Visual\nArts Carlos Enríquez, Cuba (2008). He was invited to the XII edition of the\nHavana Biennial (2015), to the VI and VII Salon of Contemporary Art (Havana,\n2014 and 2017), and to the exhibition Continua Spheres Ensemle (2017, 104 Cent\nQuatre, Paris, France).
Among\nhis solo shows are “El acto total” (2019, Colegio de Arquitectos, Galleria\nContinua, Havana, Cuba); “Contra los poetas” (2017, Galería Servando,\nCuba), “It´s Useless” (2016, Museo Droguería Johnson, Cuba), “Los síntomas del\nengaño” (2015, National Museum of Fine Arts, Cuba).
Regarding group exhibitions there are, among\nothers: “Cuba mi amor” (2017, Galleria Continua, Les Moulins, France); “¿Soy\nCuba?” (2017, Franco Parenti Theather, Milan); Nido sin árbol\n(2016, Antiguo Colegio de Arquitectura de La Habana, Cuba); “Por el dos” (2014,\nCentro de Desarrollo de las Artes Visuales, Cuba); “Agua salada” (2014, Centro\nHispanoamericano de Cultura, Cuba); “The Silent Shout: Voices in Cuban\nAbstraction” (2013, ArtSpace/Virginia Miller Galleries, USA); “Spring\nexhibition” (2012, The Royal Institute of Art, Suecia); “Muestra de Video Arte\nCubano” (2010, First Lisboa Contemporary Art Biennal, Portugal) and “Esporas”\n(2010, Pabellón Cuba, Cuba).
Reside y trabaja en La Habana, Cuba. Graduado\ndel Instituto Superior de Arte (2006, La Habana, Cuba); y de Nivel Medio en\nArtes Plásticas Escuela Profesional de Arte “Oscar Fernández Morera”.
Entre\nsus más recientes exposiciones personales destacan: Distancia, Galería Servando. La Habana, Cuba (2020); Óleo, Galería Artis 718. La Habana, Cuba (2019); Lonely\nPlanet, Galería Orígenes, Gran teatro de la Habana, La Habana, Cuba (2018);\nTetes, NG Art Gallery.Ciudad Panamá. Panamá (2017); A escala Humana\n(bipersonal). Galería Galiano. La Habana. (2017); Cronos. Loyds Register, La Habana (2016); Psicotrópical,\nGalería Knoerle & Baettig. Whinthertur. Suiza (2015). Su obra ha sido\ntambién expuesta en numerosas exposiciones colectivas dentro y fuera de Cuba, entre\nellos: Museo Domus Artium de Salamanca; Xiaozuo Museum. Xiaozuo, Fujian; Singer Laren Museum. Laren. Holanda;\nNG Art Gallery. Panamá; GX Gallery. Londres. Reino Unido; Fairmont Royal Hotel\nGallery. Toronto. Canadá; RaymaLuz\nArt Gallery. Madrid. España; 12 Bienal del Cairo. Ciudad del Cairo. Egipto; Osasenku Gallery. Helsinki.\nFinlandia; Galería Luz / Suarez del villar. Madrid; Galería Wolfen. Alborg.\nDinamarca; Jacob Gallery. Wayne State University. Detroit. EE.UU;
Ha recibido premios y\nbecas, entre los que se encuentran: Artist in residence Program. (CAEG)\n(Ministry of Culture China). Beijing- Xiaozuo. China 2018; Gran premio “1er\nConcurso de arte contemporáneo Post –it. \nLa Habana. Cuba. 2014; K.K.A in residence\nprogram. (Ministry of Culture Austria). Viena. Austria. 2012.
Su\nobra forma parte de colecciones públicas, entre ellas el Consejo Nacional de\nlas Artes Plásticas. (CNAP).\nCuba; Xiaozuo Art Museum. Xiaozuo. Fujian. China; China Arts and Entertainment\nGroup Collections (CAEG). Ministry\nof Culture of China. China; Fundación los Carbonell. Ciudad Panamá. Panama; Shelley and Donald Rubin Foundation. New York. \nEEUU; Brownstone Foundation. París. Francia.
Niels\nReyes lives and works in Havana, Cuba. He got graduated from the University of\nArts (ISA) in 2010, Havana, Cuba.
Among his more recent solo shows are: Distancia, Servando Art Gallery. Havana, Cuba (2020); Óleo, Artis 718 Gallery. Havana, Cuba (2019); Lonely Planet, Galería Orígenes, Gran\nteatro de la Habana, Havana, Cuba (2018); Tetes,\nNG Art Gallery. Panam City, Panamá (2017); A\nescala Humana (bipersonal). Galería Galiano, Havana, Cuba. (2017); Cronos. Loyds Register, La Havana\n(2016); Psicotrópical, Galería Knoerle\n& Baettig. Whinthertur, Suiza (2015). His\nwork has been shown at different group exhibition in Cuba and other countries,\nsuch as: Domus Artium\nMuseum, Salamanca; Xiaozuo Museum. Xiaozuo, Fujian; Singer Laren Museum. Laren.\nHolanda; NG Art Gallery. Panamá; GX Gallery. London; Fairmont Royal Hotel\nGallery, Toronto. Canadá; RaymaLuz Art Gallery. Madrid.\nEspaña; 12 Bienal del Cairo. Ciudad del Cairo. \nEgypt; Osasenku Gallery. Helsinki. Finlandia; Galería Luz / Suarez del Villar.\nMadrid; Galería Wolfen. Alborg.\nDinmark; Jacob Gallery. Wayne State University. Detroit. EE.UU.
He\nhas won important awards such as Artist in residence Program. (CAEG) (Ministry\nof Culture China). Beijing- Xiaozuo. China 2018; First Award “1st Contemporary\nCuban Contest Post-It, Havana, Cuba (2014); K.K.A in residence program. (Ministry\nof Culture Austria). Viena. Austria. 2012.
His work is part of the public collections, such as:\nConsejo Nacional de las Artes\nPlásticas. (CNAP). Cuba; Xiaozuo Art Museum. Xiaozuo. Fujian. China; China Arts\nand Entertainment Group Collections (CAEG). \nMinistry of Culture of China. China; Fundación los\nCarbonell. Ciudad Panamá. Panama;\nShelley and Donald Rubin Foundation. New\nYork. EEUU; Brownstone Foundation. París. Francia.
Priscilla Monge (San José, 1968) es una artista post-media que desarrolla su carrera desde mediados de los años ochenta en un contexto en el que las estructuras patriarcales eran la base principal del comportamiento social, siendo además una de las figuras femeninas destacadas del arte latinoamericano contemporáneo.
En sus obras explora las relaciones de poder que se dan en el cuerpo de la mujer como catalizador de la política donde la feminidad, en particular, opera como una forma efectiva de disciplinar el cuerpo femenino. Otros aspectos de su trabajo se centran en la presencia de la violencia en la vida cotidiana y en las coyunturas a menudo invisibles entre la agresión, el placer, el amor y la ternura.
Ha participado en la Bienal de Venecia y Liverpool y su obra ha sido expuesta en numerosas instituciones internacionales como MNCARS (Madrid), MoMA PS1 (Nueva York), Brooklyn Museum (Nueva York), Museum of Latin American Art (Los Angeles) y MACZUL (Venezuela) y la Americas Society (Nueva York), entre otras. Su trabajo forma parte colecciones como MADC de San José (Costa Rica), Tate Modern (Londres), MNCARS (Madrid) y TFAM (Taipei), tan solo por mencionar algunas de las más representativas. Recientemente recibió el premio nacional de las artes visuales Francisco Amighetti.
","create_at":"2019-02-04T23:12:10.550Z","en_bibliography":"","en_biography":"Priscilla Monge (San José, 1968) is a post-media artist who has developed her career since the mid-eighties in a context where patriarchal structures were the primary basis of social behavior while being one of the prominent female artists of contemporary Latin American art.
In her works, she explores the power relations of the female body as a catalyst for politics. In particular, femininity operates as an effective way of disciplining the female body. Other aspects of her work focus on the presence of violence in everyday life and the often invisible junctures between aggression, pleasure, love, and tenderness.
She has participated in the Venice and Liverpool Biennial. Her work has been exhibited in numerous international institutions such as MNCARS (Madrid), MoMA PS1 (New York), Brooklyn Museum (New York), Museum of Latin American Art (Los Angeles) and MACZUL (Venezuela), and the Americas Society (New York), among others. Her work is part of collections such as MADC of San José (Costa Rica), Tate Modern (London), MNCARS (Madrid), and TFAM (Taipei), among the most representative. She has recently received the Francisco Amighetti National Prize for Visual Arts.
","fullname":"Priscilla Monge","id":"5c58c6ca199051137f0d9336","lastName":"Monge","name":"Priscilla","updated_at":"2019-02-04T23:12:10.550Z"},{"__v":0,"_id":"5c642578d376c811bf8eb162","bibliography":"","biography":"","create_at":"2019-02-13T14:11:04.954Z","en_bibliography":"","en_biography":"","fullname":"Rodrigo Sastre","id":"5c642578d376c811bf8eb162","lastName":"Sastre","name":"Rodrigo","updated_at":"2019-02-13T14:11:04.954Z"},{"__v":0,"_id":"5c642561d376c811bf8eb160","bibliography":"","biography":"","create_at":"2019-02-13T14:10:41.329Z","en_bibliography":"","en_biography":"","fullname":"Rodrigo Ramírez","id":"5c642561d376c811bf8eb160","lastName":"Ramírez","name":"Rodrigo","updated_at":"2019-02-13T14:10:41.329Z"},{"__v":0,"_id":"5c6423c5d376c811bf8eb15a","bibliography":"","biography":"","create_at":"2019-02-13T14:03:49.957Z","en_bibliography":"","en_biography":"","fullname":"Rubén Guerrero","id":"5c6423c5d376c811bf8eb15a","lastName":"Guerrero","name":"Rubén","updated_at":"2019-02-13T14:03:49.957Z"},{"__v":0,"_id":"5c64237dd376c811bf8eb156","bibliography":"","biography":"","create_at":"2019-02-13T14:02:37.550Z","en_bibliography":"","en_biography":"","fullname":"Sophie Calle","id":"5c64237dd376c811bf8eb156","lastName":"Calle","name":"Sophie","updated_at":"2019-02-13T14:02:37.550Z"}],"celphone":"","city":{"_id":"5b8ebe413a2fd5c4ec21a60f","country":"5b8eab483a2fd5c4ec21a411","create_at":"2020-10-15T09:40:22.560Z","name_en":"Mexico City","name_es":"Ciudad de México","updated_at":"2020-10-15T09:40:22.560Z"},"country":{"_id":"5b8eab483a2fd5c4ec21a411","create_at":"2020-10-15T09:40:22.564Z","name_en":"Mexico","name_es":"Mexico","updated_at":"2020-10-15T09:40:22.564Z"},"create_at":"2018-11-13T23:17:52.241Z","descriptionEn":"Founded in 1985 by Luis Adelantado in Valencia\n(Spain), since its beginnings Galería Luis Adelantado has focused on the\npromotion of contemporary art.
In 2009, Galería Luis Adelantado\nopened a new space in Mexico City, then a challenge posed as a logical outcome,\ngiven the Gallery’s close relationship with Mexico’s culture. The 1500 m2 space\nis located in the cultural area of Polanco, which also houses the Museums Jumex\nand Soumaya.
Fundada por Luis\nAdelantado en 1985 en Valencia (España), la galería Luis Adelantado se ha\ncentrado desde sus inicios en la promoción del arte contemporáneo.
En 2009, la\nGalería de Luis Adelantado abre un nuevo espacio en México D.F. Este nuevo\nreto, se plantea como una consecución lógica, tras una estrecha relación con el\ntejido cultural de México. La galería, con una extensión de 1500 m2, está\nsituada en una zona cultural cerca de Polanco, donde se encuentran los Museos\nJumex y el Soumaya.
La Biblioteca Pública de Nueva York (NYPL) es un sistema de biblioteca pública en la ciudad de Nueva York. Con casi 53 millones de artículos, la Biblioteca Pública de Nueva York es la segunda biblioteca pública más grande de los Estados Unidos (detrás de la Biblioteca del Congreso) y la cuarta más grande del mundo. Es una corporación privada, no gubernamental, de gestión independiente, sin fines de lucro que opera con financiamiento tanto privado como público. La biblioteca tiene sucursales en los condados de Manhattan, el Bronx y Staten Island, y afiliaciones con bibliotecas académicas y profesionales en el área metropolitana del estado de Nueva York. Los otros dos condados de la Ciudad de Nueva York, Brooklyn y Queens, son atendidos por la Biblioteca Pública de Brooklyn y la Biblioteca de Queens, respectivamente. Las bibliotecas de sucursales están abiertas al público en general y consisten en bibliotecas circulantes. La Biblioteca Pública de Nueva York también tiene cuatro bibliotecas de investigación que están abiertas al público en general también.
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The Fiart Foundation aims to develop artistic creativity in its various manifestations, through its exhibition, research, and divulgation.
Along with the exhibitions that take place at its headquarters, it has also spread outside its geographical boundaries through itinerant and individual exhibitions of Spanish artists in the main museums in Latin America. In addition, it develops projects so that in Spain the artistic capacity of Latin American creators and of other cultures is recognized.
Defined as a meeting place, it is an interactive space where meanings are built, a forum for interaction between art and individuals that generate wide spaces of knowledge, promotion, and development of the most diverse artistic and cultural manifestations.
La Fundación Fiart tiene como finalidad principal desarrollar la creatividad artística en sus distintas manifestaciones, a través de su exhibición, investigación y difusión.
Junto con las exposiciones que se realizan en su sede, también se ha extendido fuera de sus límites geográficos a través de muestras itinerantes e individuales de artistas españoles en los principales museos de Latinoamérica. Además, desarrolla proyectos para que en España se reconozca la capacidad artística de creadores latinoamericanos y de otras culturas.
Definiéndose como un lugar de encuentros, es un espacio interactivo donde se construyen significados, un foro de interacción entre el arte y los individuos que genera amplios espacios de conocimiento, promoción y desarrollo de las más diversas manifestaciones artísticas y culturales.
The Fundació Suñol is a private non-profit organization that organizes temporary exhibitions to offer different readings of Josep Suñol's contemporary art collection, which has more than 1,200 works of art. In its headquarters of Paseo de Gracia are also programmed monographic exhibitions of artists linked to the collection and projects in collaboration with other institutions. In its annex, the Nivell Zero, Fundació Suñol promotes a project to promote divulgation and avant-garde artistic production.
The Josep Suñol Collection includes works by Warhol, Picasso, Miró, Dalí, Tàpies, Man Ray, Gargallo, Calder, Gordillo, Zush, Boetti, Solano, Lootz, Navarro, Plensa, García-Alix, Arp, Avedon, Balla, Saura, Valdes, among many others, that are exposed in different formats, from chronological sequences to dialogues and interactions between the works that make up the background of the collection.
The Nivell Zero, annexed to the exhibition halls and located on the same block as La Pedrera, acts as a container for transverse and temporary proposals for small exhibitions, debates, poetry cycles, concerts, seminars, conferences, and workshops.
","descriptionEs":"La Fundació Suñol es una entidad privada sin ánimo de lucro que organiza exposiciones temporales para ofrecer diferentes lecturas de la colección de arte contemporáneo de Josep Suñol, que en su totalidad cuenta con más de 1.200 obras de arte. En su sede de paseo de Gracia también se programan exposiciones monográficas de artistas vinculados a la colección y proyectos en colaboración con otras instituciones. En su espacio anexo, el Nivell Zero, la Fundació Suñol impulsa un proyecto para favorecer la difusión y la producción artística de vanguardia.
La Colección Josep Suñol incluye obras de Warhol, Picasso, Miró, Dalí, Tàpies, Man Ray, Gargallo, Calder, Gordillo, Zush, Boetti, Solano, Lootz, Navarro, Plensa, García-Alix, Arp, Avedon, Balla, Saura, Valdé, entre otros muchos, que se exponen en diferentes formatos, desde secuencias cronológicas hasta diálogos e interacciones entre las obras que conforman el fondo de la colección.
El Nivell Zero, anexo a las salas de exposición y situado en el interior de la misma manzana que la Pedrera, actúa como contenedor de propuestas transversales y temporales de pequeñas exposiciones, debates, ciclos de poesía, conciertos, seminarios, conferencias y talleres.
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The museums have played a leading role in the development of art history, conservation, and conservation science, and in the evolution of the art museum as an institution.
Programs encourage close looking at original works of art, collaboration with campus and community partners, and the production of new scholarship.
Los Harvard Art Museums son tres museos separados: el Museo Fogg, el Museo Busch-Reisinger y el Museo Arthur M. Sackler, dedicados a promover y apoyar el aprendizaje en la Universidad de Harvard, en la comunidad local y en todo el mundo.
Los museos han jugado un papel de liderazgo en el desarrollo de la historia del arte, la conservación y la ciencia de la conservación, y en la evolución del museo de arte como institución.
Los programas fomentan la observación de obras de arte originales, la colaboración con el campus y los socios de la comunidad, y la producción de nuevas becas.
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","updated_at":"2019-03-19T15:11:30.864Z"},{"__v":0,"_id":"5c9104dfd6ab6d9821fc4a5a","bibliography":"","biography":"","create_at":"2019-03-19T15:03:59.305Z","en_bibliography":"","en_biography":"","fullname":"J.J Moros","id":"5c9104dfd6ab6d9821fc4a5a","lastName":"Moros","name":"J.J","updated_at":"2019-03-19T15:03:59.305Z"},{"__v":0,"_id":"5c9105a6d6ab6d9821fc4a63","bibliography":"","biography":"","create_at":"2019-03-19T15:07:18.393Z","en_bibliography":"","en_biography":"","fullname":"Joaquín Latorraca","id":"5c9105a6d6ab6d9821fc4a63","lastName":"Latorraca","name":"Joaquín","updated_at":"2019-03-19T15:07:18.393Z"},{"__v":0,"_id":"5dd583e7328d465952a49491","bibliography":"","biography":"Sus composiciones se organizan en líneas o franjas diagonales que sugieren, al contrario de la composición clásica, estática, mucho dinamismo y líneas de fuga que hacen crecer la composición más allá del lienzo, como en el barroco.María Elisa Pifano (Barquisimeto, 1958) inició en 1993 su formación como ceramista en Baldwin Pottery en Nueva York, y en 1994 estudió azulejos y murales con Frank Giorgini en Parsons School of Design de NY, a la vez que obtuvo el grado en diseño de interiores en el mismo instituto. Entre 2002 y 2006 retoma sus estudios cerámicos a tiempo completo con Malinda Wright y Jake Alee, ambos en Tyler Junior College, Texas, y en 2015 regresa a Nueva York para un curso intensivo de escultura en cerámica en Greenwich House Pottery.
Ha participado en varias exposiciones colectivas en Parsons School of Design (1995); Tyler Junior College (2002, 2004, 2005); The Art of Surviving AIDS, Tyler, Texas (2005); Protégé Exhibit, Temple, Texas (2006); Geometría, Museo de Arte Acarigua-Araure (2017) y L’Espace Blanc, Caracas (2018); ha participado en el proyecto Pixeles, Galería GBG Arts, Caracas (2017, 2018, 2019); Subasta de la Fundación Autismo en Voz Alta, BOD, Caracas (2018).
AKADEMIE DER KÜNSTE BERLIN, 1964. Südamerikanische Malerei der Gegenwart. Berlín: Akademie der Künste Berlin.
ASSOCIATION FRANCAISE ARTISTIQUE, 1996. Los límites de la fotografía (Les limites de la photographie). París: Association Francaise Artistique.
BIBLIOTECA/MNBA. Colección de Artículos de Prensa del Artista EDUARDO VILCHES publicados en los diarios y revistas entre 1968-2014. Santiago de Chile: Archivo Documental Biblioteca MNBA.
BRAVO, Carlos [et. al], 2007. Eduardo Vilches. Santiago de Chile: Impresora Óptima.
CAL EDICIONES, 1982. Taller 99. Santiago de Chile: Cal Ediciones.
CASA DE LA CULTURA JALISCIENSE, 1970. Grabado chileno contemporáneo. México D.F.: Casa de la Cultura Jalisciense.
CELEDÓN, Pedro, 2004. La figura de Eduardo Vilches en el contexto de la Escuela de Arte UC. Cuadernos de la Escuela de Arte, Santiago de Chile: Escuela de Arte, Pontificia Universidad Católica de Chile, n° 10, pp. 63-95.
CENTRO CULTURAL DE ESPAÑA, 1997. Gráfica del Taller 99. Santiago de Chile: CCE.
-. 2008. Sobre las bienales americanas de grabado, Chile 1963-1970. Santiago de Chile: CCE.
-. 2011. Compromiso y transformación: selección de obras iberoamericanas Museo de la Solidaridad Salvador Allende. Santiago de Chile: CCE.
CENTRO DE EXTENSION DE LA UNIVERSIDAD CATOLICA. Orígenes, Santiago de Chile, 2006.
CENTRO DE ARTE ACTUAL, 1976. Roser Bru, Eduardo Vilches. Pereira: s.n.
CONSEJO NACIONAL DE LA CULTURA Y LAS ARTES, 2006. Homenaje a Eduardo Vilches [Videograbación]. DVD. Santiago de Chile: Los Winners Films.
CORPORACIÓN CULTURAL DE LAS CONDES, 2003. La mirada austera. Síntesis formal en las artes visuales chilenas desde Burchard a nuestros días. Santiago de Chile: Corporación Cultural de Las Condes.
CORPORACIÓN CULTURAL TALLER 99, 1996. Taller 99: 40 años de grabado en Chile, 1956-1996. Santiago de Chile: Corporación Cultural Taller 99.
CORTÉS OÑATE, Ximena, 1999. El color de Concepción. Concepción: Petrox Refinería de Petróleo S.A.
D21 PROYECTOS DE ARTE, 2014. Fotografías: Eduardo Vilches. Santiago de Chile: D21 Proyectos de arte.
DELPIANO, María José, 2011. Las operaciones críticas de Eduardo Vilches para el grabado en Chile. Ensayos sobre artes visuales. Prácticas y discursos de los años 70 y 80 en Chile, Santiago de Chile: CeDOC/LOM, pp. 53-84.
EDICIONES TALLER 99, 1962. Taller 99 ediciones: A. Uribe, E. Vilches. Santiago de Chile: Ediciones Taller 99.
ELLENA, Emilio, 1998. Gráfica chilena. Madrid: Galería Brita Prinz y Concepción: Galería de Arte El Caballo Verde.
ELLIOT, Jorge, 1967. Contemporary Chilean Art by Artists Associated with the University of Chile. Santiago: Universitaria.
EHRMANN, Karin y VALENTE, Paulina, 2014. A la luz de las sombras. Santiago de Chile: Valente.
ENTEL CHILE, 2006. Cuño y estampa, en torno al grabado chileno. Volumen I. Santiago de Chile: Entel.
ESTUDIO ACTUAL, 1971. Cuatro artistas chilenos: Antúnez, Opazo, Vilches, Yrarrázabal. Caracas: Estudio Actual.
GALERÍA CARMEN WAUGH, 1974. 20 serigrafías. Santiago de Chile: Galería Carmen Waugh.
GALERÍA CROMO, 1977. Cuatro grabadores chilenos. Santiago de Chile: Galería Cromo.
GALERÍA DE ARTE IMAGEN, 1976. Ocho grabadores chilenos. En homenaje al día del periodista de Ciudad Guayana. Ciudad Guayana: Galería de Arte Imagen.
GALERÍA DE ARTE TRECE, 2007. Eduardo Vilches, grabados. Santiago de Chile: Galería de Arte Trece.
GALERÍA GABRIELA MISTRAL, 1992. Prueba de artista. Santiago de Chile: GGM.
-. 2007. Otro jardín. Santiago de Chile: GGM.
GALERÍA IMAGEN, 1970. 10 grabadores chilenos. Santiago de Chile: Galería Imagen.
GALERÍA MUNICIPAL DE ARTE VALPARAÍSO, 1985. 6 valores contemporáneos de la plástica nacional. Valparaíso: Galería Municipal de Arte Valparaíso.
GALERIE LA TOUR, 1965. La Gravure D'Amerique Latine. Génova: Galerie La Tour.
INSTITUTO CULTURAL DE PROVIDENCIA, 1995. Taller 99. Santiago de Chile: Instituto Cultural de Providencia.
INSTITUTO CHILENO-FRANCÉS DE CULTURA, 1976. Eduardo Vilches: 10 años de grabado 1964-1974. Santiago de Chile: Instituto Chileno-Francés de Cultura.
INSTITUTO CHILENO-NORTEAMERICANO DE CULTURA, 1970. 20 grabadores, 30 grabados chilenos. Santiago de Chile: Instituto Chileno-Norteamericano de Cultura.
-. 1985. Fotografías. Santiago de Chile: Instituto Chileno-Norteamericano de Cultura.
INSTITUTO DE ARTE CONTEMPORÁNEO, 1960. Grabados del Taller 99 (Chile). Lima: Instituto de Arte Contemporáneo.
LEYTON, Beatriz, 2004. Historia del grabado: notas y testimonios sobre el curso de Eduardo Vilches. Cuadernos de la Escuela de Arte, Santiago de Chile: Escuela de Arte, Pontificia Universidad Católica de Chile, n° 10, pp. 97-109.
MELLADO, Justo Pastor, 1994. Eduardo Vilches: Un caso para la investigación en artes plásticas. Cuadernos de arte UC. Santiago de Chile: Escuela de Arte Pontificia Universidad Católica de Chile, Año I, Nº 1.
-. 1995. La novela chilena del grabado. Santiago de Chile: Economías de Guerra.
-. 2005. El concepto de desplazamiento del grabado. Informe de campo (de 1 a 6). Justo Pastor Mellado [en línea]. [Consulta: octubre de 2017]. Disponible en: www.justopastormellado.cl.
MILLAR, Pedro, 1996. Eduardo Vilches: retrospectiva. ARQ, Santiago de Chile: Escuela de Arquitectura, Pontificia Universidad Católica de Chile, pp. 71-72.
MINISTERIO DE EDUCACIÓN, 1959. Taller 99 U.C. Santiago de Chile: Ministerio de Educación.
MUSEO DE ARTE CONTEMPORÁNEO, 1963. I Bienal Americana de Grabado. Santiago de Chile: MAC.
-. 1965. II Bienal Americana de Grabado. Santiago de Chile: MAC.
-. 1968. III Bienal Americana de Grabado. Santiago de Chile: MAC.
-. 2017. MAC catálogo razonado: Colección Museo de Arte Contemporáneo, Facultad de Artes Universidad de Chile. Santiago de Chile: MAC.
MUSEO DE ARTE DE LA UNIVERSIDAD NACIONAL DE COLOMBIA, 1966. Grabadores Chilenos, Taller 99. Bogotá: Museo de Arte de la Universidad Nacional de Colombia.
MUSEO NACIONAL DE BELLAS ARTES & INSTITUTO CHILENO-ISRAELÍ DE CULTURA, 1981. Testimonios: la poesía israelí a través de la expresión plástica. Santiago de Chile: MNBA e Instituto Chileno-Israelí de Cultura.
MUSEO NACIONAL DE BELLAS ARTES, 1970. IV Bienal Americana de Grabado. Santiago de Chile: MNBA.
-. 1991. Taller 99. Santiago de Chile: MNBA.
-. 1993. Grabados chilenos: mirada retrospectiva. Colección Museo Nacional de Bellas Artes. Santiago de Chile: MNBA.
-. 1996. Eduardo Vilches. Santiago de Chile: MNBA.
-. 1996. Inauguración Exposición Eduardo Vilches [Videograbación]. DVD. (Disponible en Sala de Lectura de la Biblioteca MNBA).
-. 2000. Chile cien años artes visuales: segundo período (1950-1973). Entre modernidad y utopía. Santiago de Chile: MNBA.
-. 2000. Chile cien años artes visuales: tercer período (1973-2000). Transferencia y densidad. Santiago de Chile: MNBA
-. 2006. 50 Años: Taller 99. Santiago de Chile: MNBA.
PONTIFICIA UNIVERSIDAD CATÓLICA DE CHILE, 1993. 11 Aproximaciones a la imagen impresa. Santiago de Chile: Pontificia Universidad Católica de Chile.
-. 2009. Maestros UC: 50 años de arte en Chile. Santiago de Chile: Pontificia Universidad Católica de Chile.
RÍOS, Óscar, 2014. Naturaleza, artificio y domesticación según Eduardo Vilches. Diseña, Santiago de Chile: Escuela de Diseño, Pontificia Universidad Católica de Chile, N° 8, pp. 64-75.
SALA MUNICIPAL DE ARTE DE VALPARAÍSO, 1991. X Bienal Internacional de Arte de Valparaíso: gráfica, grabado, dibujo. Valparaíso: Sala Municipal de Arte de Valparaíso.
SAÚL, Ernesto, 1992. Artes visuales 20 años, 1970 - 1990. Santiago de Chile: Ministerio de Educación.
SOLANICH, Enrique, 1987. Dibujo y grabado en Chile. Santiago de Chile: Ministerio de Educación.
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UNIVERSIDAD DEL DESARROLLO, 2007. Eduardo Vilches: mural UNCTAD III (1972) - CNCA (2006). Santiago de Chile: Universidad del Desarrollo.
VILCHES, Eduardo, 1987. 22 años sin volar: dibujos de Eduardo Vilches. Revista de arte UC. Santiago de Chile, N° 1, pp. 36-40.
-. 1988. Eduardo Vilches. Revista de Arte UC, Santiago de Chile: Escuela de Arte, Pontificia Universidad Católica de Chile, n° 3, pp. 44-45.
","biography":"Eduardo Vilches Prieto nació el 12 de diciembre de 1932 en Concepción, Chile.
Comenzó a incursionar en la producción artística de manera autodidacta en su ciudad natal, realizando sintéticos dibujos de paisajes. Siendo muy joven se trasladó a Santiago para trabajar en una oficina, sin embargo, en 1958 gracias a la invitación que le extendiera Nemesio Antúnez, se integró al Taller 99, donde tuvo la oportunidad de instruirse en las distintas técnicas de grabado.
Pese a que nunca prosiguió una carrera artística formal, se ocupó de perfeccionar continuamente sus conocimientos tanto prácticos como teóricos, por ello, estudió pintura con Gregorio de la Fuente y participó como alumno libre en talleres de la Escuela de Arte de la Universidad Católica de Chile. En ese contexto conoció a Sewell Sillman (1924-1992) profesor visitante de la Universidad de Yale, Estados Unidos –ayudante y discípulo del connotado artista bauhaus Josef Albers (1888-1976)—quien sugirió a Vilches postular a la Beca Fulbright para proseguir estudios en esa universidad, la cual se adjudicó en 1960.
A su regreso al país en 1961, se integró como ayudante de la cátedra de dibujo que dictaba Roser Bru en la Universidad Católica, relevándola luego en dicha labor. En 1962 creó el curso de Color –una adaptación del diseñado por Albers—que significó un aporte en la transformación de la enseñanza de las artes visuales en Chile. En la misma universidad, se hizo cargo de la línea de grabado, implementando un curso de historia de la disciplina y desarrollando talleres avanzados en distintas técnicas. Complementariamente, y en el marco de la Reforma Universitaria iniciada a fines de los años 60, el artista efectuó cursos de grabado para niños en la población Víctor Domingo Silva, los que se llevaron a cabo por tres años consecutivos, hasta el golpe de estado de 1973.
Durante los 60 y 70, participó en importantes muestras de arte y grabado dentro y fuera del país, destacando la II Bienal de Grabado en Cracovia, Polonia (1968), las distintas versiones de las bienales americanas de grabado realizadas en Santiago de Chile (1963-1970) y la Segunda Bienal de San Juan del Grabado Latinoamericano en Puerto Rico (1972). En estas instancias de exhibición el artista obtuvo reconocimiento local e internacional, cuestión que se perpetuó en las décadas posteriores. Igualmente ha recibido el reconocimiento de sus pares en Chile, otorgándole en varias ocasiones el Premio Altazor (2008, 2011 y 2012) y siendo homenajeado el 2006 por el Consejo Nacional de la Cultura y las Artes.
Vilches ha desarrollado su obra principalmente en grabado, de manera específica en xilografía. En ese medio, experimentó con formas sintéticas, que se nutrían algunas veces de elementos formales presentes en la cultura popular. Asimismo, en sus obras el uso del color es acotado, produciendo imágenes monocromas de alto contraste (blanco y negro) y otras donde se aprecia la intervención de pigmentos como el azul. Y aunque la depuración formal ha sido un elemento clave en su propuesta, el trabajo de Vilches no llega a ser abstracto, manteniendo siempre un contacto figurativo, que vuelve sobre temas cotidianos, sencillos y familiares. A partir de los años 70, el artista comenzó a indagar las posibilidades de la serigrafía, procedimiento que le otorgaba más rapidez al proceso de impresión de imágenes. En esa técnica produjo su serie Retratos (1974), donde siguió estudiando las interacciones entre color y forma. En el transcurso de los años 80, deja completamente el grabado para dedicarse de lleno a la fotografía, medio sobre el cual han versado sus recientes exposiciones.
Ha dedicado buena parte de su labor a la enseñanza del arte, siendo ampliamente reconocido por estudiantes de distintas generaciones. En el marco de sus talleres dictados en la Escuela de Arte de la Universidad Católica durante los años 80, sus alumnos Carlos Gallardo, Arturo Duclos, Mario Soro, Silvio Paredes (1960-) y Rodrigo Cabezas, entre otros, produjeron lo que la crítica e historiografía del arte local denominó los “desplazamientos del grabado”: propuestas que desbordaban la noción tradicional de grabado y ensayaban nuevas posibilidades para la práctica en el contexto del arte contemporáneo. Asimismo, el curso de Color tuvo una buena recepción en varios de sus estudiantes que iniciaron su carrera artística en la década de los 90, como Mario Navarro, Mónica Bengoa, Carlos Navarrete y Cristián Silva Soura. Por su incansable labor docente, Vilches fue reconocido en 1999 con el grado de Profesor Emérito de la Pontificia Universidad Católica de Chile.
También ha realizado docencia en la Universidad de Chile y en la Universidad Finis Terrae.
El artista reside en Santiago, Chile.
Premios y Concursos
2008 Premio Altazor, categoría Grabado y Dibujo, Santiago, Chile. También se adjudicó este galardón en 2011 y 2012.
2007 Fondart, proyecto Otro jardín, Consejo Nacional de la Cultura y las Artes, Valparaíso, Chile.
2006 Artista Homenajeado, Día Nacional de las Artes Visuales, Consejo Nacional de la Cultura y las Artes, Valparaíso, Chile.
1999 Nombrado Profesor Emérito de la Facultad de Arquitectura y Bellas Artes, Pontificia Universidad Católica de Chile, Santiago, Chile.
1998 Premio Municipal de Arte, Ilustre Municipalidad de Santiago, Santiago, Chile.
1972 Premio Ex Aequo, Segunda Bienal de San Juan del Grabado Latinoamericano, San Juan, Puerto Rico.
1972 Premio Ex Aequo, IV Bienal Internacional de Grabado, Cracovia, Polonia.
1971 Medalla de Plata, I Bienal de Artes Gráficas, Museo de Arte Moderno La Tertulia, Cali, Colombia.
1970 Premio de Adquisición, IV Bienal Americana de Grabado, Museo Nacional de Bellas Artes, Santiago, Chile.
1968 Segundo Premio, III Bienal Americana del Grabado, Museo de Arte Contemporáneo, Santiago, Chile.
1968 Premio Ex Aequo, II Bienal Internacional de Grabado, Cracovia, Polonia.
1963 Mención de Honor, Primera Bienal Americana del Grabado, Museo de Arte Contemporáneo, Santiago, Chile.
1960 Beca Comisión Fulbright para realizar estudios en la Universidad de Yale, New Haven, Estados Unidos.
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ABELL, CAROLINA ED. Assler. Santiago: Infoarte, 2002.
ABELL SOFFIA, MARÍA CAROLINA. Atrapados por el tiempo : miradas escultóricas. Santiago: [Universidad Andrés Bello], 2008.
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ASSLER, FEDERICO. Escultura Homenaje a Jackson Pollock. Parque de Los Reyes. Santiago: Cemento Melón, 1996.
ASSLER, FEDERICO. Federico Assler : Roca Negra. Presentación Federico Assler, Fernando Domeyko , Santiago : s.e., 2002.
ASSLER, FEDERICO. Proyectos Escultóricos. Textos Cristián Undurraga. Santiago, Galería Artespacio, 2005.
BIENAL AMERICANA DE ARTE. III Bienal Americana de Arte, Córdoba, Argentina. Argentina: Ministerio de Relaciones Exteriores de la República Argentinas e Industrias Kaiser Argentina S.A., 1966.
BIENAL. CHILE EN LA NOVENA BIENAL DE SAN PABLO. Exposición organizada por el Instituto de Extensión de Artes Plásticas de la Universidad de Chile. Santiago: Departamento Visual de la Editorial Lord Cochrane, 1967.
CALVIN ETCHEVERS, JORGE. Assler : Bodegón Cultural de Los Vilos. Santiago, 2007.
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","biography":"Federico Assler Brown, escultor. Nació en Santiago, Chile, el 24 de abril de 1929.
Definió su carrera artística en 1956, luego de estudiar arquitectura por dos años en la Universidad Católica de Valparaíso donde recibió lecciones de Hans Soyka. Se inició en los talleres de dibujo de la Escuela de Bellas Artes de la Universidad de Chile.
Aunque llegó a destacar con sus primeros trabajos como pintor, su interés por los problemas impuestos por la creación de obras en volumen, lo llevaron a la escultura a mediados de la década de los sesenta. Junto a Raúl Valdivieso, Sergio Mallol y Sergio Castillo integró la llamada Generación del Cincuenta. Fue uno de los escultores integrantes del Grupo Rectángulo.
En forma paralela a su quehacer artístico, Federico Assler se ha desempeñado en distintos cargos como profesor de escultura y paisajismo y como director del Museo de Arte Contemporáneo de la Universidad de Chile desde el año 1965 hasta 1968. En 1995 fue designado Presidente del primer directorio de la Sociedad de Escultores de Chile.
Por su trayectoria artística de 60 años, 40 de los cuales ha dedicado a la escultura con su reconocida técnica en hormigón en los espacios públicos, Federico Assler recibió el Premio Nacional de Arte 2009.
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El Museo Nacional de Bellas Artes de Cuba es un apasionante museo de arte que se encuentra\nalbergado en dos edificaciones ubicadas junto al famoso Paseo de\nMartí, en el centro de La Habana. Tiene como objetivo restaurar, conservar y promover las\nobras que forman parte del patrimonio plástico de Cuba y está dotado de 24 salas donde se\nexhiben colecciones de arte antiguo, salas de arte dedicadas a\nmaestros de todos los tiempos y salas con exposiciones transitorias.
Since its beginnings in 1986, Duque\nArango has been a symbol of diffusion for established and emerging artists,\npresenting modern and contemporary proposals, offering broad and clear\ninvestment advice to national and international collecting as well as to the\ngeneral public. Today, after 33 years, we are even more excited to provide in\nour space, a convergence of proposals that give the viewer a clear vision of\ninternational art.
Desde sus\ninicios, en 1986, Duque\nArango ha\nsido un referente de difusión para artistas consagrados y emergentes,\npresentando propuestas modernasy contemporáneas,\nbrindando al coleccionismo nacional e internacional y al público en general,\nuna amplia asesoría de inversión clara y contundente. Hoy después de 33 años,\nestamos mas entusiasmados en brindar en nuestro espacio una convergencia de\npropuestas que den al espectador una visión clara del arte internacional.