Naum Knop es un artista argentino de raรญces judรญo-ucranianas, nacido en 1917 en l Buenos Aires. Desde temprana edad estuvo en contacto con la disciplina de la talla de madera, ya que su padre era carpintero y al terminar la escuela primaria estudiรณ con Luis Fernรกndez, llegando a tener su propio taller. En 1935, asistiรณ a la Escuela de Bellas Artes Manuel Belgrano, donde obtuvo el tรญtulo de Profesor de Dibujo. Posteriormente, tomรณ un curso para egresados dictado por Alfredo Bigatti y Alberto Lagos y asistiรณ a la Escuela Superior Ernesto Cรกrcova, donde se formรณ en la talla de piedra y mรกrmol, introducido por Josรฉ Fioravanti, Soto Avedaรฑo y Carlos de la Cรกrcova. Durante su carrera artรญstica obtuvo numerosas distinciones, entre las que se encuentra el Gran Premio de Honor de la Academia Nacional de Artes Plรกsticas en 1946. A partir de 1947, comenzรณ una serie de viajes que lo pusieron en contacto con la obra de grandes escultores europeos como Jacques Lipchitz, Umberto Boccioni, Constantin Brancusi, Henrry Moore y Jean Arp, cuyas influencias fueron muy importantes para el desarrollo artรญstico personal. Durante su estadรญa en Estados Unidos, asistiรณ al Art Institute of California. En 1949 el artista regresรณ a la Argentina y centrรณ su producciรณn en la talla ornamental. El aรฑo 1970 abre una nueva etapa de florecimiento en su carrera, esta coincide con la inauguraciรณn de su taller en el barrio de Parque Patricios, espacio en el que hoy funciona la Fundaciรณn Naum Knop. En esta รฉpoca continรบa tratando temas caracterรญsticos en su producciรณn y otros novedosos como Figura Americana de 1972. Durante toda la dรฉcada prima el trabajo sobre madera, especialmente los ensamblados de pequeรฑas piezas muy pulidas y suaves que configuran relieves o figuras de grandes y sinuosos volรบmenes. Hacia 1988 el artista abre en los Salones de la empresa Serra Lima el Museo Naum Knop. El artista falleciรณ en 1993.ย Su producciรณn artรญstica fue muy prolรญfica, trabajando con materiales variados como el metal, la madera y el mรกrmol y diversas tรฉcnicas entre las que se incluyeron la fundiciรณn a la cera perdida, el tallado, el pulido y la adiciรณn.
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En sus obras, los vacรญos y los llenos permiten modular las luces y sombras, acompaรฑando la simplificaciรณn de las formas. El espacio aparece como modelador de la figura, sin respetar ningรบn modelo figurativo de la naturaleza, respondiendo, exclusivamente, a una bรบsqueda plรกstica del artista.
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Naum Knop was an Argentine artist of Jewish-Ukrainian descent, born in Buenos Aires in 1917. He was exposed to the craft of woodcarving from an early age, as his father was a carpenter; after finishing primary school, he studied under Luis Fernรกndez and eventually established his own workshop. In 1935, he attended the Manuel Belgrano School of Fine Arts, where he qualified as a drawing teacher. Later, he took a postgraduate course taught by Alfredo Bigatti and Alberto Lagos and attended the Ernesto Cรกrcova Higher School of Fine Arts, where he trained in stone and marble carving under the guidance of Josรฉ Fioravanti, Soto Avendaรฑo, and Carlos de la Cรกrcova. Throughout his artistic career, he received numerous honors, including the Grand Prize of Honor from the National Academy of Visual Arts in 1946. Beginning in 1947, he embarked on a series of trips that brought him into contact with the work of major European sculptors such as Jacques Lipchitz, Umberto Boccioni, Constantin Brancusi, Henry Moore, and Jean Arpโartists whose influence played a crucial role in his personal artistic development. During his time in the United States, he attended the Art Institute of California. The artist returned to Argentina in 1949 and focused his creative output on ornamental carving. The year 1970 marked a new, flourishing phase in his career, coinciding with the opening of his workshop in the Parque Patricios neighborhoodโa space that now houses the Naum Knop Foundation. During this period, he continued to explore themes characteristic of his work while also introducing new subjects, such as Figura Americana (1972). Throughout the decade, wood remained his primary medium, particularly in the form of assemblages made from small, highly polished, smooth pieces that created reliefs or figures featuring large, sinuous volumes. Around 1988, the artist opened the Naum Knop Museum within the Serra Lima company’s exhibition halls. The artist passed away in 1993. His artistic output was highly prolific; he worked with a variety of materialsโsuch as metal, wood, and marbleโand employed diverse techniques, including lost-wax casting, carving, polishing, and additive processes.
In his works, voids and solids allow for the modulation of light and shadow, complementing the simplification of forms. Space acts to shape the figureโwithout adhering to any figurative model from natureโresponding exclusively to the artist’s aesthetic quest.
Horacio Vodovotz naciรณ en 1942. Estudiรณ dibujo y pintura con Manuel Eichelbaum y Demetrio Urruchua. Se graduรณ como Arquitecto Universidad de Buenos Aires en 1967. Con sus รณleos y monocopias concurre a salones Nacionales, Provinciales y Municipales desde 1955. Habiendo sido seleccionado en mรกs de cien oportunidades y obteniendo numerosos premios. Han destacado tambiรฉn sus trabajos por Radio Barcelona y en Israel los periรณdicos “Aurora” y “Maariv”. Entre sus murales se destacan “Lago Kineret” (1966) de cien metros cuadrados y ubicado en Buenos Aires, y otros como el realizado en Barrington Shores, EEUU (1988), en B’nai B’rith (1990) y Hospital Israelita (1998). Poseen obras suyas los Museos de Campana, del Grabado, Colecciones Privadas e Instituciones la Argentina y Brasil, Paraguay, Uruguay, Costa Rica, Francia, Inglaterra, Israel, los Estados Unidos, y la ex-Uniรณn Soviรฉtica. Escribe y da clases y conferencias sobre temas de su especialidad en diversos รกmbitos tales como Comunidad Emanu-El, B’nai B’rith, Facultad de Odontologรญa, Colegio de Farmacรฉuticos y Bioquรญmicos y las Escuelas ORT.
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Horacio Vodovotz was born in 1942. He studied painting and drawing with Manuel Eichelbaum and Demetrio Urruchua. He graduated in 1967, obtaining his degree in Architecture from the Universidad de Buenos Aires. Since 1955, he has shown his oil paintings and monotypes in national, provincial and municipal exhibitions. Having been a finalist in more than 100 events, he has won many prizes. Also, his works have been praised by Radio Barcelona and by the newspapers “Aurora” and “Maariv” in Israel. His most important murals are “Lake Kineret” (1966), one hundred square meters in size and located in Buenos Aires, and others in Barrington Shores, U.S.A. (1988), at B’nai B’rith Argentina (1990), and at the Hospital Israelita of Buenos Aires (1998). His works are owned by the Campana and Prints Museums in Buenos Aires and in institutional and private collections in Argentina, Brazil, Paraguay, Uruguay, Costa Rica, France, England, Israel, the United States, and the former Soviet Union. Horacio Vodovotz writes, gives classes, and lectures about topics in which he specializes in varied locales such as the Emmanuel Synagogue, B’nai B’rith, the College of Dentistry, the School of Pharmacy and the College of Pharmacists and Biochemists, and the ORT school system.
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De/From: Horacio Vodovotz. Manchas. Buenos Aires: Milรก,
Es un concepto muy difundido el de” viejo testamento” y nuevo testamento.
En realidad, nuestro conjunto de libros mรกs sagrados es el Pentateuco, compendio de gran sabidurรญa, รฉtica y tradiciones, de ninguna manera es viejo, ni cede sus derechos ante un nuevo testamento que durante mรกs de dos mil aรฑos ha sido fuen-e de inspiraciรณn para artistas que casi nunca fueron judรญos.
La mitologรญa nรณrdica quedรณ representada principalmente en el costado de los barcos vikingos.
Homero y las tragedias griegas fueron ilustradas en vasos y frescos.
La epopeya de Mahabarata y Ramayana convocรณ a multitud de artistas que reprodujeron hasta el cansancio imรกgenes y temas de gran monotonรญa.
En cambio, las sagradas escrituras estรกn vinculadas a extraordinarias y renovadas creaciones pictรณricas.
Desde el arte de las catacumbas y las iglesias paleocristianas, pasando por las iluminaciones medievales y el arte gรณtico, la minuciosidad bizantina y la explosiรณn creativa del Renacimiento, la magia del primer surrealismo (Hieronymus Bosch) y la magia flamenca, el expresionismo y el arte moderno en general, hasta el arte abstracto, todos buscaron inspiraciรณn en La Biblia.
El mundo occidental estรก impregnado de este material, por me-dio de las reproducciones, de las obras de arte que atesoran palacios, iglesias, museos y galerรญas.
En algunos casos, como el Gรฉnesis desarrollado en el cielorraso de la Capilla Sixtina a lo largo de seiscientos metros cuadra-dos, se convierten de la mano de Miguel รngel en un pinรกculo del arte universal.
Lo cierto es que en la inmensa mayorรญa de estas obras hay un desarrollo de una iconografรญa exclusivamente cristiana, y nos falta una mirada judรญa sobre toda la temรกtica bรญblica, motivada en sus orรญgenes por la prohibiciรณn de reproducir imรกgenes.
Como ejemplo tomaremos la figura del rey David y algunas interpretaciones de su mรญtica imagen realizada por artistas gentiles y judรญos.
Indiscutible desde un punto de vista plรกstico, el David de bronce de Donatello aparece con un aire nada viril. El gran maestro Donatello privilegia en este caso una graciosa ambigรผedad plas-nada en un sombrerito con flores y un cuerpo llamativamente feminoide.
Algunas de las preguntas que me formulo son obviamente si es ta imagen representa la dura vida de nuestros lรญderes pastores, su humildad, la energรญa y determinaciรณn del hombre que unificรณ a Israel.
Tampoco parece posible que “este” David pudiera llevar la tremenda espada que segรบn la Torรก le arrebatรณ a Goliath.
ยฟCรณmo no mencionar al mรกs famoso David de todos los tiempos?
Admiraciรณn de entendidos y legos, motivo de peregrinaciรณn de turistas, modelo inspirador de estudiantes de arte, infinitamente festejado y reproducido.
Un volcado original recala en nuestras tierras hacia 1910 y se encuentra en dependencias del Instituto Superior Ernesto de la Cรกrcova.
Ahora bien ยฟquรฉ representa el David de Miguel รngel? Un impecable efebo griego, con mรบsculos de gimnasio, peinado con rizos y demรกs caracterรญsticas que responden al canon de belleza griego rescatado por el renacimiento.
Considero una simple anรฉcdota la circuncisiรณn, que en el caso de este mรกrmol (maravilloso en otros sentidos) pertenece a una serie de hechos visibles.
Siendo nosotros, los judรญos particularmente sensibles a lo “in-tangible”(un Poder Superior al que no podemos nombrar ni ver) estamos en deuda y nos toca rescatar la espiritualidad del rey David, sus luchas interiores, las huellas que en su rostro dejaron sin duda las tormentas que pasaron por su alma.
Paradigma de los artistas judรญos, Chagall imagina un Rey pura poesรญa y alegrรญa.
Predomina el rojo. El David de Chagall tiene un arpa en lama-no es un Rey poeta y no un Rey guerrero. Como en casi todas las grandes obras de arte Chagall pinta a Chagall a travรฉs de la imagen de David.
Abordรฉ repetidas veces el tema en mis propias pinturas.
Un rey David pastor de grandes dimensiones fue distinguido con un premio en una iglesia.
Creo que casi siempre me preocupรณ representar un David sacudido por sus tormentas interiores.
Quien sabe el que mรกs me representa es un rey anciano, las ma-nos abiertas en forma de sรบplica. Estรกn vacรญas de riquezas y atributos de poder.
Es el instante en que el rey David, prรณximo a morir, habla con su Rey.
Me pregunto ยฟquรฉ maravillosos testimonios nos hubiera dejado los escribas de la Torรก si hubieran realizado pinturas o croquis, ilustrando, iluminando los personajes de nuestra historia desde un รกngulo judaico?
El Rey David por Horacio Vodovotz/King David by Horacio Vodovotz
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The Unillustrated Bible โ King David
The concepts of the “Old Testament” and “New Testament” are universally known.
In reality, our most sacred body of work is the Pentateuchโa compendium of profound wisdom, ethics, and traditions. It is by no means “old,” nor does it yield its standing to a New Testament that, for over two thousand years, has served as a source of inspiration for artists who were almost never Jewish.
Norse mythology was primarily depicted on the sides of Viking ships.
Homer and the Greek tragedies were illustrated on vases and frescoes.
The epics of the Mahabharata and Ramayana drew a multitude of artists who endlessly reproduced images and themes that often bordered on the monotonous.
In contrast, the Sacred Scriptures are linked to extraordinary and ever-evolving artistic creations.
From the art of the catacombs and Early Christian churchesโthrough medieval illuminations, Gothic art, Byzantine intricacy, the creative explosion of the Renaissance, the magic of early Surrealism (Hieronymus Bosch) and the Flemish masters, Expressionism, and modern art in general, all the way to abstract artโartists have sought inspiration in the Bible.
The Western world is steeped in this material, encountered through reproductions and the artworks treasured in palaces, churches, museums, and galleries.
In some instancesโsuch as the depiction of Genesis across the six hundred square meters of the Sistine Chapel ceilingโthese themes, in the hands of Michelangelo, become a pinnacle of universal art.
The fact remains, however, that the vast majority of these works feature an exclusively Christian iconography; we lack a Jewish perspective on these biblical themesโa void stemming from the original prohibition against creating graven images.
As a case study, we will examine the figure of King David and various interpretations of his legendary image by both Gentile and Jewish artists. From a purely aesthetic standpoint, Donatelloโs bronze David presents an air that is anything but virile. Here, the great master Donatello favors a charming ambiguity, embodied in a small, flower-adorned hat and a strikingly feminine physique.
One naturally wonders whether this image truly represents the harsh life of our shepherd-leaders, their humility, or the energy and determination of the man who unified Israel.
Nor does it seem plausible that this David could wield the massive sword that, according to the Torah, he wrested from Goliath.
How could one fail to mention the most famous David of all time?
Admired by experts and laypeople alike, a magnet for tourists, an inspiration to art students, and endlessly celebrated and reproduced.
An original cast arrived in our region around 1910 and is housed at the Ernesto de la Cรกrcova Higher Institute.
But what does Michelangeloโs David represent? An impeccable Greek ephebeโa youth with gym-honed muscles, curly hair, and other features adhering to the Greek canon of beauty revived during the Renaissance.
I view the matter of circumcisionโwhich, in the case of this marble figure (marvelous in other respects), is simply one visible detail among manyโas a mere footnote.
As Jews, we are particularly attuned to the “intangible”โa Higher Power that can be neither named nor seenโand thus it falls to us to reclaim the spirituality of King David: his inner struggles and the traces left upon his face by the storms that surely raged within his soul.
A paragon for Jewish artists, Chagall envisions a King who embodies pure poetry and joy.
Red dominates the composition. Chagallโs David holds a harp; he is a poet-king, not a warrior-king. As in so many great works of art, Chagall paints himself through the image of David.
I, too, have repeatedly explored this theme in my own paintings. A monumental statue of King David as a shepherd was honored with an award at a church.
I think I was almost always concerned with portraying a David shaken by his inner storms.
Perhaps the one that best represents me is an aged king, his hands open in supplicationโempty of riches and the trappings of power.
It captures the moment when King David, nearing death, speaks with his King.
I wonder: what marvelous testimonies might the scribes of the Torah have left us had they created paintings or sketches illustrating and illuminating the figures of our history from a Jewish perspective?
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Moshรฉ
A los pocos dรญas de mi trajinar por la RovaYehudรญ (el cuarto judรญo de Jerusalem antigua) con mis pasteles a cuestas ya me habรญa hecho de algunos conocidos.
Por ejemplo, estaba el hombre del bar, campechano al estilo israelรญ, que me preguntaba: ยกcรณmo? ยกsolamente hiciste dos cuadros hoy?
Y tambiรฉn tenรญa un seguidor. Cuando menos lo esperabas. a tus espaldas aparecรญa Moshรฉ.
Moshรฉ era un muchacho de unos diecisiete aรฑos, ortodoxo, (quiรฉn no en la Rova) con sus vestiduras negras, peies, kipรก (rulos, solideo) y unos grandes ojos oscuros llenos de asombro.
Aparte de estar muy atento a lo que yo hacรญa (lo cual revela una profunda inteligencia) Moshรฉ dejaba translucir una pequeรฑa inferioridad mental.
Hablaba รบnicamente hebreo (rak ivrit). Es posible que eso nos haya unido un poco, porque mi hebreo era positivamente el de un deficiente mental tambiรฉn.
Lo cierto es que a pesar de las notorias dificultades en nuestra comunicaciรณn varias cosas quedaron claras:
En primer lugar, Moshรฉ no estudiaba Torรก, como sรญ lo hacรญan la abrumadora mayorรญa de los jรณvenes en la Roba. Ya sea por elecciรณn o imposibilidad, Moshรฉ estudiaba carpinterรญa, ademรกs de seguirme por las callejuelas de piedra, lo cual lo constituรญa en mi casi exclusivo pรบblico. Moshรฉ era reservado, respetuoso y gentil.
En uno de los tantos paseos que Lidia y yo hacรญamos hasta el Kotel nos topamos abruptamente con Moshรฉ.
Lo llamรฉ cordialmente, con ansias de presentarle a Lidia a mi รบnico admirador.
Habรญa algo raro en Moshรฉ. La expresiรณn de sus ojos excedรญa el asombro habitual. Tenรญan un destello de pena, un brillo de pรกnico.
Por un momento pensรฉ que lo cohibรญa (como a todo religioso la proximidad de una mujer.
Simplemente me dijo: mataron a mi joven camarada, compaรฑero) Mรกs tarde nos enteramos, que durante la madrugada, en una zona que recorrรญamos habitualmente con Lidia, unos terroristas habรญan emboscado y asesinado al joven javer de Moshรฉ, cuyo pecado habรญa sido regresar de madrugada de una fiesta.
Ya de vuelta en Buenos Aires, me preguntaba por quรฉ no habรญa tomado algรบn boceto de Moshรฉ.
ยกCuรกnto me habรญa costado que algรบn religioso se dejara retratar!
Con alguna triquiรฑuela y mucha diplomacia logrรฉ dos bocetos, una noche afortunada en Mea Sharim.
Entiendo que dada nuestra amistad, Moshรฉ me hubiera permitido dibujarlo.
Habรญa yo traรญdo mรกs de sesenta obras de Israel.
Quien sabe se me habรญa generado cierto cansancio. Tal vez por eso me encontrรฉ retocando un pequeรฑo paisaje con cรบpulas de Moscรบ.
En forma totalmente inadvertida, sobre las cรบpulas surgiรณ como un fantasma el retrato de Moshรฉ. Con los grandes ojos llenos de miedo, tal como seme apareciera cerca del Kotel.
No sรฉ quรฉ me llevรณ a conservarlo. Ya que no era un trabajo decididamente “para dejar”. (Debo hacer notar que tapo con otro cuadro aquellos que no me convencen decididamente, lo cual convierte a casi todas mis obras en verdaderos palimpsestos).
Llegรณ el momento de enmarcar las obras de Israel para un par de exposiciones pendientes.
Confieso que me dio lรกstima, entre mรกs de sesenta obras dejar sin marco al pobre Moshรฉ. Pero no lo expuse.
Varios meses despuรฉs vino a verme Jaime K. Horacio, me dijo emocionado, estรก Melwyn Weiss en Argentina Como sabrรกs, es muy amigo de Clinton y gran coleccionista de cuadros. Le encantรณ tu Judas Macabeo. ยฟQuรฉ te parece si se lo regalamos? El macabeo es una donaciรณn, hecha con la condiciรณn de que estรฉ en determinado lugar de la Instituciรณn, con la chapa donde figuran los donantes bien a la vista. Eso no se regala.
Entonces voy a tratar de llevar a Melwyn a tu atelier.
ยฟTe imaginรกs cuando estรฉs al lado de un Picasso?
Lo cierto es que los esfuerzos de Jaime K. fueron infructuosos. M. Wandaba siempre ocupado en alguna banalidad, como reunirse con el presidente Menem o con algรบn ministro. Vaya a saber quรฉ pavada estarรญan tratando en vez de venir de una buena vez a buscar mi cuadro.
Jaime K. no se rendรญa. Tomรณ un รกlbum con fotos de mis cuadros y se fue al hotel de Melwyn. Que cuidadosamente seleccionรณ entre mรกs de doscientas fotografรญas…el retrato de Moshรฉ.
ยฟCรณmo te sentรญs ahora que estรกs al lado de Picasso? Preguntรณ Jaime K.
Catorce. Catorce Picassos exclamรณ entusiasta Aรญda K.
Muy contento. Muy contento. Y desde el fondo de todas mis frustraciones y de mi refinado resentimiento, agreguรฉ: ahora Picasso se va empezar a valorizar.
Pensรฉ que esta historia se terminaba aquรญ. Pero me encuentro con la noticia de que los Picasso de Melwyn Weiss (no catorce sino unos ciento setenta) se estรกn exponiendo en este abril del 2001 en La Plata. Me pregunto si Melwyn Weiss sabrรก quiรฉn es este Moshรฉ que lo mira con grandes ojos de asombro desde el fondo de algรบn pasillo lleno de tesoros donde sรณlo puede destacarse por la humildad de su tamaรฑo.
Me pregunto si alguna vez volverรฉ a pintar en La Roba, donde dejรฉ la mitad de mi alma, y cuando menos lo espere, allรญ estarรก Moshรฉ haciรฉndome un millar de preguntas mudas, que yo no tendrรฉ palabras para responder.
Sucediรณ en Jerusalem/It Happened in Jerusalem por Horacio Vodovotz
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Moshรฉ
Within a few days of making my rounds in the Rova Yehudi (the Jewish Quarter of the Old City of Jerusalem) with my pastels in tow, I had already made a few acquaintances.
For instance, there was the man at the barโaffable in that typical Israeli wayโwho would ask me, “What? You only did two paintings today?”
And then there was a follower. Just when you least expected it, Moshรฉ would appear right behind you.
Moshรฉ was a boy of about seventeenโan Orthodox Jew (as was everyone in the Rova), dressed in black, with peyot (sidelocks) and a kippah (skullcap), and possessing large, dark eyes filled with wonder.
Aside from being keenly attentive to what I was doingโwhich revealed a deep intelligenceโMoshรฉ also displayed signs of a mild intellectual disability.
He spoke only Hebrew (rak ivrit). That might have been what bonded us a little, since my Hebrew was, frankly, on the level of someone with a mental disability as well.
The fact is, despite the obvious communication barriers, a few things became clear:
First, Moshรฉ did not study Torah, unlike the overwhelming majority of young men in the Rova. Whether by choice or necessity, Moshรฉ was studying carpentryโin addition to following me through the stone alleyways, a habit that made him my almost exclusive audience. Moshรฉ was reserved, respectful, and gentle.
On one of the many walks Lidia and I took to the Kotel (Western Wall), we ran right into Moshรฉ.
I called out to him warmly, eager to introduce Lidia to my one and only admirer.
There was something odd about Moshรฉ. The look in his eyes went beyond his usual sense of wonder. There was a glint of sorrow in them, a flash of panic. For a moment, I thought I was making him self-conscious (as the proximity of a woman does to any religious man).
He simply told me: “They killed my young comradeโmy friend.” Later, we learned that during the early hours of the morningโin an area Lidia and I frequentedโterrorists had ambushed and murdered Mosheโs young friend, whose only sin had been returning late from a party.
Back in Buenos Aires, I wondered why I hadn’t made a sketch of Moshe.
It had been such a struggle to get any religious man to agree to be portrayed!
Through a bit of trickery and a great deal of diplomacy, I had managed to secure two sketches one lucky night in Mea Shearim.
I realize that, given our friendship, Moshe would have allowed me to draw him.
I had brought back more than sixty works from Israel.
Perhaps a certain weariness had set in. That might explain why I found myself touching up a small landscape featuring the domes of Moscow.
Quite unexpectedly, the portrait of Moshe emerged over the domes like a ghostโhis large eyes filled with fear, just as he had appeared to me near the Western Wall.
I donโt know what prompted me to keep it, as it wasn’t a piece I was fully satisfied with. (I should note that I paint over works that don’t quite convince me, turning almost all my pieces into veritable palimpsests.)
The time came to frame the works from Israel for a couple of upcoming exhibitions.
I admit I felt a pang of regret leaving poor Moshe unframed among more than sixty other pieces. But I didn’t exhibit it.
Several months later, Jaime K. came to see me. “Horacio,” he said excitedly, “Melwyn Weiss is in Argentina. As you know, heโs a close friend of Clintonโs and a major art collector. He absolutely loved your Judas Maccabeus. What do you think about giving it to him as a gift?” The Macabeo is a donation made on the condition that it be displayed in a specific part of the institution, with the plaque bearing the donors’ names clearly visible. That isn’t something one simply gives away.
So, Iโm going to try to take Melwyn to your studio.
Can you imagine standing next to a Picasso?
The truth is, Jaime K.โs efforts were fruitless. M. Wandaba was always busy with some trivialityโmeeting with President Menem or some minister. Who knows what nonsense they were discussing instead of finally coming to pick up my painting.
Jaime K. didnโt give up. He took an album of photos of my paintings and went to Melwynโs hotel. He carefully selectedโfrom among more than two hundred photographsโthe portrait of Moshรฉ.
“How does it feel to be standing next to a Picasso?” Jaime K. asked.
“Fourteen. Fourteen Picassos,” Aรญda K. exclaimed enthusiastically.
“Very happy. Very happy.” And from the depths of all my frustrations and my refined resentment, I added: “Now Picasso is going to start increasing in value.”
I thought the story ended there. But then I came across the news that Melwyn Weissโs Picassosโnot fourteen, but some one hundred and seventy of themโwere being exhibited in La Plata in April 2001. I wonder if Melwyn Weiss knows who this Moshรฉ isโthe one gazing at him with wide, astonished eyes from the back of a corridor filled with treasures, where he stands out only for his humble size.
I wonder if I will ever paint again at La Roba, where I left half my soul, and ifโwhen I least expect itโMoshรฉ will be there, asking me a thousand silent questions that I will have no words to answer.
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Manchas en las paredes de las Cavernas
Hace unos 20.000 aรฑos, en varios sitios de Europa en forma simulatea, ignotos artistas esculpieron las llamadas Venus Esteatopigias. Con grandes senos y caderas, la cabeza generalmente oculta. Eran una invocaciรณn a la fertilidad.
Algunas de ellas son muy famosas, como la Venus de Willendorf. Pero el artista que la esculpiรณ no podรญa imaginar cรณmo se iba a llamar su creaciรณn. Sencillamente porque en ese momento no existรญa el lenguaje.
Asรญ sucede con los contemporรกneos toros de Lascaux o los bisontes de Altamira (Capilla Sixtina de la antigรผedad)
Si existieran dudas sobre la existencia del lenguaje hace 20.000 aรฑos, podemos afirmar rotundamente que no se conocรญa entre los fabulosos artistas de la recientemente descubierta cueva de Chauvet (37.000 a.e.e.)
Curiosamente, PUEDO SENTIR las emociones que me transmiten las pinturas…
Puedo admirar la belleza y la gracia de animales extinguidos, conmoverme ante la coqueterรญa de un peinado “a la nubiaโ femenino…
Participar de la alegrรญa de la caza y el hambre satisfecho… Entristecerme por la muerte de un compaรฑero atacado por una fiera…
Emocionarme ante el cortejo del leรณn a su hembra…
Escuchar el estruendo, estremecerme ante la furia de dos rinocerontes enfrentados en feroz combate…
Tambiรฉn me llega la ternura de una mirada compasiva sobre los pequeรฑos ciervos, la paz de los bisontes en descanso y el humor de una vaca que salta sobre un grupo de caballos…
Hasta los osos que habitaban Chauvet se impresionaron, dejando estampadas sus garras sobre las pinturas de caballos al trote.
Entre las imรกgenes existen las que nos hablan de un MISTERIO. Como la figura mitad brujo mitad bisonte de Chauvet, sosteniendo un enigmรกtico par de piernas femeninas. Eterno misterio del arte. Misterio que permite comunicarme con otros seres humanos a travรฉs del tiempo y del espacio, que habla de los temores y emociones de seres que no sabรญan hablar.
Lidia enciende las velas de un viernes a la noche.
Una emociรณn profunda e indefinible nos invade, algo como sentirnos especiales, un eslabรณn en esa continuidad milenaria, tan sรณlo un eslabรณn, pero imprescindible para no romper la cadena. En Sudรกfrica, mรกs precisamente en Biombos, una cuasi persona, hace 80.000 aรฑos, hacรญa sus primeras manchas sobre una piedra pulida.
He recibido tu mensaje y nos hemos comunicado a travรฉs de unos pocos trazos, a pesar de tu aspecto mรกs simiesco que humano
Se iniciaba asรญ una de las aventuras mรกs grandes del espรญritu humano.
Pintura y judaรญsmo. Dos tradiciones. Dos formas de vivir. Dos formas de darle significado al mundo.
Cada artista es รบnico y aporta su grande o pequeรฑo granito de arena a la historia del arte.
Cada ser humano es รบnico, irrepetible, importante a los ojos de D’s, tal como una estrella o una brizna de hierba.
Me siento leal a cada una de estas dos cadenas. La lealtad a una no va en desmedro de la otra.
Ambas me comunican el mandato irrenunciable de completar la obra que D’s creรณ Lahazot (“para hacerla”).
Gracias por seรฑalarme un camino, hermano Abraham, hermano Moisรฉs, hermano salvaje de la cueva de Biombos.
Around 20,000 years ago, at various sites across Europe, unknown artists simultaneously sculpted the so-called steatopygous Venusesโfigures with large breasts and hips, and heads that were generally concealed. They were an invocation of fertility.
Some of them are very famous, such as the Venus of Willendorf. Yet the artist who carved her could not have imagined what his creation would be namedโsimply because language did not exist at that time.
The same applies to the contemporaneous bulls of Lascaux or the bison of Altamira (the “Sistine Chapel of antiquity”).
If there were any doubts about the existence of language 20,000 years ago, we can state categorically that it was unknown to the extraordinary artists of the recently discovered Chauvet Cave (dating back to 37,000 BCE).
Curiously, I CAN FEEL the emotions conveyed by the paintingsโฆ
I can admire the beauty and grace of extinct animals, and be moved by the coquetry of a womanโs “Nubian-style” hairstyleโฆ
Share in the joy of the hunt and the satisfaction of hungerโฆ feel sorrow at the death of a companion attacked by a wild beastโฆ
Be stirred by a lion courting his mateโฆ
Hear the thunderous noise and shudder at the fury of two rhinoceroses locked in fierce combatโฆ
I am also touched by the tenderness of a compassionate gaze cast upon young deer, the peace of resting bison, and the humor of a cow leaping over a group of horsesโฆ
Even the bears that inhabited Chauvet were impressed, leaving their claw marks stamped over the paintings of trotting horses.
Among the images, there are those that speak to us of a MYSTERYโsuch as the figure at Chauvet that is half-shaman, half-bison, holding an enigmatic pair of female legs. An eternal mystery of art. A mystery that allows me to communicate with other human beings across time and space, speaking of the fears and emotions of beings who did not yet know how to speak.
Lidia lights the candles on a Friday night.
A profound and indefinable emotion washes over usโa sense of being special, a link in that ancient continuity; merely a link, yet essential to keeping the chain unbroken. In South Africaโspecifically at Blombosโa proto-human, 80,000 years ago, made their first marks upon a polished stone.
I have received your message, and we have communicated through a few simple strokes, despite your appearance being more simian than human.
Thus began one of the greatest adventures of the human spirit.
Painting and Judaism. Two traditions. Two ways of living. Two ways of giving meaning to the world.
Every artist is unique, contributing their own partโgreat or smallโto the history of art.
Every human being is unique, unrepeatable, and important in the eyes of Godโjust like a star or a blade of grass.
I feel loyal to both of these chains. Loyalty to one does not come at the expense of the other.
Both convey to me the unrenounceable mandate to complete the work God createdโLahazot (“to do it”).
Thank you for showing me the way, Brother Abraham, Brother Moses, wild brother from the cave at Blombos.
Desde su primera exposiciรณn individual en Buenos Aires, a sus 17 aรฑos, Martha Zuik realizรณ mรกs de 60 exhibiciones personales en galerรญas y museos. Su carrera internacional comenzรณ en 1959. Luego de su primera muestra individual en Paris, se uniรณ al grupo de artistas internacionales ยซFantasmagieยป, fundado por Aubin Pasque e integrado por renombrados artistas como Magritte y Picasso. Ese mismo aรฑo expuso junto a ellos en Bruselas. Con ese grupo continuรณ presentando sus trabajos durante mรกs de 20 aรฑos, en Francia, Holanda, Alemania, Bรฉlgica y otros paรญses europeos. Durante dรฉcadas, su trabajo ha sido objeto de especial atenciรณn como un emblema del arte argentino y ha sido exhibido en Argentina, EE.UU., Alemania y Hong Kong. Ha participado en numerosas bienales internacionales de pintura y obra grรกfica.
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Since her first solo exhibition in Buenos Aires at the age of 17, Martha Zuik held over 60 solo exhibitions in galleries and museums. Her international career began in 1959; following her first solo show in Paris, she joined the international artist group “Fantasmagie”โfounded by Aubin Pasque and comprising renowned artists such as Magritte and Picassoโand exhibited alongside them in Brussels that same year. She continued to present her work with the group for more than two decades across France, the Netherlands, Germany, Belgium, and other European countries. For decades, her work has garnered significant attention as an emblem of Argentine art and has been exhibited in Argentina, the United States, Germany, and Hong Kong. She has participated in numerous international biennials dedicated to painting and graphic art.
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Al comienzo de su labor artรญstica, se ocupรณ de motivos fantรกsticos, postura con la cual reflejaba consecuentemente el camino, a uno de cuyos lados estรก, la idea de un motivo que determine la orientaciรณn creadora y en el otro predomina el desarrollo y la invenciรณn de formas, precisamente para ese tema concreto. Por aquel entonces en las obras de Martha Zuik se observan, ante todo, coincidencias de tradiciones formales y la superaciรณn de estos conceptos fantรกsticos realistas… (Otfried Schรผtz).
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At the outset of her artistic career, she focused on fantastic motifsโan approach that consistently reflected a path defined at one end by the concept of a motif shaping her creative direction, and at the other by the development and invention of forms specific to that particular theme. During that period, Martha Zuikโs work revealed, above all, a convergence of formal traditions and a move beyond those fantastic-realist concepts. .. (Otfried Schรผtz).
Mirta Narosky es.Profesora y licenciada en Artes Plรกsticas (orientaciรณn pintura), recibida en la Universidad Nacional de La Plata.Desde pequeรฑa, recibe premios en poesรญa y pintura nacionales e internacionales. En pintura se destacan: 1967- Manchas pavimentales (3ยบ premio, no alcanzando la edad mรญnima), 1968-1ยบ premio Pintura rupestre. Cรณrdoba, 1971-3ยบ premio internacional de pintura y grabado. Bruselas. Bรฉlgica. 1ยบ premio concurso nacional de manchas. Salta.
Mirta Narosky is a Professor and holds a Licentiate in Visual Arts (specializing in painting) from the National University of La Plata. Since childhood, she has received national and international awards in both poetry and painting. Her notable achievements in painting include: 1967โManchas pavimentales (3rd Prize; awarded despite not meeting the minimum age requirement); 1968โ1st Prize for Pintura rupestre (Rock Painting) in Cรณrdoba; and 1971โ3rd International Prize for Painting and Engraving in Brussels, Belgium, as well as 1st Prize in the National Manchas (Inkblot) Competition in Salta.
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Actividades seleccionadas de Mirta Norowsky/Selected Activities of Mirta Narosky
Exposiciones individuales/Individual Expositions
1987.- โAcuarelasโ, Direcciรณn de Cultura de Lomas de Zamora. 1988.– โAcuarelasโ, Escuela de Bellas Artes de Lanรบs. 1990.- โDe la tierra y otros planetasโ, Sheraton hotel, BsA. 1997.-โEspacios virtualesโ, Centro Cultural Gral. San Martรญn Bs. As. 1999.- โCajas virtuales โ contenidos realesโ, Galerรญa Espacio Buenos Aires.Museo de Bellas Artes de Chivilcoy, pcia. Buenos Aires. โ 2000.- โRetratos y rostrosโ Gal. Adriana Budich. Buenos Aires, Argentina. 2001.- โEntre materia y espรญritusโ en Gal. Alejo Carpentier, Camaguey (Cuba).โRaรญces y tangoโ (inaugura espacio de Arte y Tango), Hotel Continental. Bs.As. 2000.- Bs. As. 2004.-โInstantรกneas de vidaโ Galerรญa Braque. (Bs.As.) Realiza dos murales. 2006.- โEstados del almaโ Centro Cultural Borges. 2007.- โImรกgenes de la Riveraโ. Conventillo Verde de La Boca (pinta en la vรญa Pรบblica). 2008.- Mis mujeresโ (Inaugura Gal. La Imprenta con conferencia y pintura en vivo). 2009.- โVรณrticesโ Centro Cultural Borges. 2010.- โVรณrticesโ Museo Municipal. de Bellas Artes E. Pettoruti. La Plata. 2011.- โDesde el Vรณrticeโ Galerรญa Nes.Bs. As. Pintura de murales, (Coordinando a alumnado) Universidad Jaureche. 2014.- Pinta en vivo en Congreso de Medicina.โ Medicinaโฆ del Humanismo a la Ciencia y el Arteโ (Integra una mesa redonda: habla del Arte como sanador del individual Dos + Una (Invitada especial por Buenos Aires) Casa de Cรณrdoba en Bs. As. โConjugaciรณn: Formas y Lรญneasโen Distal Arte. Recoleta. 2015.-โPercepciones del Futuro 0.5โ, Abstracciones figurativas-figuraciones abstractas. Gal. Raรญces Americanas. 2016.- โVรณrtices y Percepciones del Futuro 0.5โ (dibujos y pinturas) INNOVA, Espacio de Arte. Punta del Este. Uruguay. 2018.- โFragmentacionesโ dibujos. Galerรญa Liliana Rodrรญguez. โMirta Narosky โMaestra-Artista Contemporรกnea invitada especial de Brea Studio. 2019.- โSACHโ Estudios abiertos de Chacarita.โInterpelando lo Ilusorioโ Invitada exposiciรณn individual Gal. PalermoH. 2020- Objetos y tramas tejidas en el espacio Performance, Bs. As. 2022- โConfluenciaโ. Serie Fragmentaciones. Museo del ojo. Cerro de las Rosas. Cรณrdoba. โMicro Vรณrticesโ pinturas e instalaciรณn Areatec. Edificio Cassarรก. Avellaneda. โFragmentaciones e improntas de la pandemiaโ Pcia de Bs A2023- Semana del Arte en CABA. โBarbaro bar. Mirta Narosky dibujos y pinturasโ 2024– โVรณrticesโ Pje de la Luna (inaugura Centro Cutural). โMis Mujeresโ Galerรญa Palermo H. Dibujos en el Bรกrbaro. 2024/25- โEspacios virtualesโ (serie de los 90s) en Galerรญa Roseum Contemporรกnea. 2025-โFragmentaciones y Microvรณrticesโ Museo Provincial Emilio Caraffa. Cรณrdoba.
Inherente a su hacer artรญstico/Related to her artistic work:
1983/2000 Es profesora de tesis en la Escuela de Bellas Artes de Lanรบs. Diseรฑa y realiza numerosas escenografรญas para teatro y tv. 1986/1987.- Viaja un aรฑo por Europa donde dicta cursos (Inglaterra e Italia) y a Marruecos, Egipto, Israel, India y Nepal, oportunidad en que se nutre del Arte Oriental. 1986/A la fecha. –Participa como jurado, dicta conferencias y forma parte de mesas redondas. Le realizan numerosas notas en diarios, revistas, radio y tv de todo el paรญs en el exterior. IIlustra libros y sus obras se encuentran en numerosos libros de Arte.Colabora con artรญculos de Arte. Escribe โDuendes por la dignidadโ libro para niรฑos sobre la Historia del Bauen como Fรกbrica recuperada1996/1997.- Es invitada especial a los encuentros nacionales de artistas plรกsticos (Catamarca, Sgo. del Estero y Cรณrdoba). 1999.- Dos documentales de su obra realizados por el cineasta Jorge Coscia. 2005.- Invitada como jurado Acadรฉmico para concurso de puesto docente de Dibujo en la Universidad de la Plata. 2012.- Es convocada por la Secretarรญa de la Industria para asesorar de Arte Plรกstica de Negocios. 2013.- Jurado en el 1ยบ Salรณn Nacional de pintura, Municipalidad de Florencio Varela. Entrega de un gruya intervenida por Mirta Narosky al Embajador de Japรณn. 2016.- Recibe la distinciรณn โLa Orden del Buzรณnโ, como personalidad de La Cultura. 2018.-Artista invitada como artista referente en el Encuentro de Pintores y Escultores por Direcciรณn de Juventud de Dolores. Chivilcoy. 2021- Diรกlogo entre artistas (zoom en vivo con Mรณnica Goldstein.Proyecto de AAVRA). 2023.- Exposiciรณn de sus alumnos de taller y clรญnica en Facultad de Derecho. UBA. 2024- Clรญnicas grupales para artistas. 2025- Pinta en vivo sobre el escenario en recital de Rock de grupo Fierr
Yishai Jusidman es un pintor contemporรกneo y crรญtico de arte ocasional. Naciรณ en la Ciudad de Mรฉxico, reside en Los รngeles y pronto emigrarรก al moshav Tal Shachar. Su obra se ha exhibido en prestigiosas exposiciones internacionales en todo el mundo. Una serie reciente, “Azul de Prusia”, aborda los desafรญos estรฉticos de la conmemoraciรณn del Holocausto a travรฉs del arte y se exhibe en el Museo Memorial de Auschwitz-Birkenau hasta octubre de 2026. Sus escritos se han publicado en Artforum, Art Issues, Los Angeles Times, Cleveland Review of Books y mรกs.
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Yishai Jusidman is a contemporary painter and occasional art critic, born in Mexico City, based in Los Angeles and soon migrating to moshav Tal Shachar. His artwork has been shown worldwide in prestigious international exhibitions. A recent series, “Prussian Blue”, deals with the aesthetic challenges of Holocaust remembrance through art, and it is on view at the Auschwitz-Birkenau Memorial Museum through October 2026. His writing has been published in Artforum, Art Issues, Los Angeles Times, Cleveland Review of Books, and more.
En mi serie Azul de Prusia, abordo el Holocausto en la pintura buscando generar la impresiรณn pictรณrica de un silencio tan solemne y directo como elocuente, ofreciendo asรญ una alternativa a las restricciones fatalistas que han frenado la producciรณn de obras que abordan este tema.
Pintura azul de Prusia: El producto Zyklon B, utilizado como agente letal entre 1940 y 1945, solรญa producir manchas azules en las paredes de las cรกmaras de gas debido a una reacciรณn quรญmica con el ladrillo y el mortero. Dichas manchas aรบn son muy visibles en las estructuras de Majdanek. El compuesto de cianuro y hierro de estas manchas es quรญmicamente idรฉntico al pigmento del pintor, conocido como Azul de Prusia. — Yisgai Jusidman
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In my Prussian Blue series, I address the Holocaust in painting by seeking to generate the pictorial impression of a silence as solemn and forthright as it is eloquent, thus furnishing an alternative to the fatalistic strictures that have stifled the production of works dealing with this subject.
Prussian blue paint: The Zyklon B product that was used as a killing agent from 1940 through 1945 often produced blue stains on the walls of the gas chambers by way of a chemical reaction with the brick and mortar. Such stains are still very much apparent in the structures at Majdanek. The cyanide-iron compound of these stains is chemically identical to the painterโs pigment known as Prussian Blue.
Mutatis Mutandi
He manipulado elementos basados โโen objetos y tecnologรญa para llamar la atenciรณn sobre el efecto pictรณrico, colocando lo tรกctil contra lo รณptico, lo literal contra lo metafรณrico, los fenรณmenos contra el discurso. โ Yisgai Jusidman
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I have manipulated object-based and technology-based elements so as to call attention to the painterly effect, by placing the tactile against the optical, the literal against the metaphorical, phenomena against discourse. — Yisgai Jusidman
Olga Fisch (1901-1990) fue una artista, marchante de arte y promotora cultural extraordinaria. Nacida en Hungrรญa, viajรณ por el mundo explorando las selvas de Sudamรฉrica y viviendo en Marruecos, donde reuniรณ su primera colecciรณn de artesanรญas. En 1932, se casรณ con su segundo esposo, Bela Fisch. La pareja emigrรณ de Europa debido a las tensiones polรญticas en la Alemania nazi, particularmente peligrosas por su origen judรญo. En Ecuador, Fisch comenzรณ a enseรฑar en la Escuela de Bellas Artes y se involucrรณ profundamente en el arte popular ecuatoriano. Para 1943, su colecciรณn de artefactos y obras de arte atrajo la atenciรณn internacional. Lincoln Kirstein, director del Museo de Arte Moderno de Nueva York (MoMA), visitรณ Ecuador para ver la colecciรณn. Este encuentro la catapultรณ a la fama y la llevรณ a tener a la ONU y al MoMA como sus primeros clientes. Durante la dรฉcada de 1950, Fisch diseรฑรณ varias lรญneas de alfombras de gran รฉxito. En la dรฉcada de 1960, su exclusivo negocio de alfombras, dirigido por mujeres y basado en encargos, era un รฉxito rotundo. Tambiรฉn fundรณ un museo sin fines de lucro dedicado a la cultura ecuatoriana y una tienda de artesanรญas llamada “Folklore”, que aรบn hoy es un referente cultural en Quito. Incluso en sus รบltimos aรฑos, Fisch conservรณ un agudo sentido del estilo, combinando con maestrรญa la inspiraciรณn arqueolรณgica y los motivos precolombinos con influencias clรกsicas coloniales.
Olga Fisch (1901-1990) was an extraordinary artist, art dealer and cultural advocate. Born in Hungary, Olga Fisch traveled the world exploring the jungles of South America and living in Morocco where she assembled her first collection of cultural handicrafts. In 1932, Olga married her second husband Bela Fisch. The couple emigrated from Europe due to political tensions in Nazi Germany, particularly dangerous due to their Jewishย heritage. In Ecuador, Fisch began teaching at the School of Fine Arts. Fisch became deeply involved in Ecuadorian folk art. By 1943, Fischโs collection of cultural artifacts and art attracted international attention. Lincoln Kirstein, the director of New Yorkโs Museum of Modern Art, visited Ecuador to view the collection. This meeting catapulted Fisch into the spotlight and resulted in the U.N. and MoMA becoming her first clients. During the 1950s, Fisch designed several successful area carpetย lines. By the 1960โs, Fischโs exclusive women-run commission-based carpet business was a resounding success. She also started a non-profit museum dedicated to Ecuadorian cultural and a handicraft shop called “Folklore” that is still a cultural landmark in Quito. Even in her older years, Fisch retained a keen sense of style that artfully combined archaeological inspiration and Pre-Colombian motifs with classical colonial influences.
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De la serie “Caverna”:/From the “Caverna” series
Diseรฑos especiales/Special Designs
Gente del Ecuador, en la colonia y en la actualidad de la artista/Ecuadorian people in the Colonial period and time of the artist
Nascida na Argentina, filha de imigrantes judeus poloneses, em 1933, Anna Bella Geiger vive e trabalha no Rio de Janeiro. De 1950 a 1953, Geiger frequentou aulas gratuitas de desenho, pintura e gravura no Instituto Fayga Ostrower, onde seu trabalho tendeu ร abstraรงรฃo. Viajou para Nova York para estudar histรณria da arte e sociologia na Universidade de Nova York e no Metropolitan Museum of Art; Geiger retornou ao Rio de Janeiro em 1954. Ao longo da dรฉcada de 1960, continuou a receber prรชmios em exposiรงรตes nacionais. Em 1964, Geiger se desencantou com a abstraรงรฃo informal. Seu trabalho comeรงou a refletir as formas orgรขnicas do corpo. No final da dรฉcada de 1960, sentiu a necessidade de responder ao clima sociopolรญtico de seu paรญs. Participou de um boicote ร 10ยช Bienal de Sรฃo Paulo (1969) e empregou colagem e assemblage para explorar a identidade brasileira e as noรงรตes de periferia. Cartografia e topografia logo se tornaram motivos importantes em sua obra. Na dรฉcada de 1980, seu interesse pela pintura foi renovado, enquanto na dรฉcada de 1990 ela retornou ร escultura multimรญdia com formas cartogrรกficas. Em 1987, em parceria com o artista, crรญtico e professor Fernando Cocchiarale, foi coautora de Abstraรงรฃo Geomรฉtrica e Informal: A Vanguarda Brasileira nos Anos 50. Geiger participou de bienais internacionais realizadas em Sรฃo Paulo, Veneza (1980), Havana (1997) e Porto Alegre, Brasil (1997). Recebeu uma bolsa da Fundaรงรฃo Memorial John Simon Guggenheim (1982) e foi premiada diversas vezes, incluindo a Bolsa da Fundaรงรฃo Vitae, o Prรชmio SESC Rio de Fomento ร Cultura (2010) e o Prรชmio Ibram de Arte Contemporรขnea (2011). — Courtney Smith
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Born in Argentina to Polish Jewish immigrant parents in 1933, Anna Bella Geiger lives and works in Rio de Janeiro. From 1950 to 1953 Geiger attended free classes in drawing, painting, and engraving at Instituto Fayga Ostrower, where her work tended toward abstraction. She traveled to New York to study art history and sociology at New York University and the Metropolitan Museum of Art; Geiger returned to Rio de Janeiro in 1954, Through the 1960s she continued to receive awards at national exhibitions. By 1964 Geiger became disenchanted with informal abstraction. Her work began to reflect the body’s organic forms. By the late 1960s she felt the need to respond to the sociopolitical climate of her country. She participated in a boycott of the 10th Bienal de Sรฃo Paulo (1969) and employed collage and assemblage to explore Brazilian identity and notions of the periphery. Cartography and topography soon became important motifs in her work. The 1980s saw her renewed interest in painting, while in the 1990s she returned to multimedia sculpture of cartographic forms. In 1987, with the artist, critic, and professor Fernando Cocchiarale, she coauthored Geometric and Informal Abstractionism: The Brazilian Avant-garde in the Fifties. Geiger participated in international biennials held in Sรฃo Paulo Venice (1980), Havana (1997), and Porto Alegre, Brazil (1997). She received a John Simon Guggenheim Memorial Foundation Fellowship (1982) and won several awards, including the Bolsa da Fundaรงรฃo Vitae, Prรชmio SESC Rio de Fomento ร Cultura (2010), and Prรชmio Ibram de Arte Contemporรขnea (2011). — Courtney Smith
Nacida como Olga Kostakowsky en Leipzig, Alemania, en 1913, Olga Costa llegรณ a Mรฉxico en 1925, cuando tenรญa apenas doce aรฑos. Su familia, de origen judรญo-ruso, buscaba un lugar para rehacer sus vidas. Fue en Mรฉxico donde realmente alcanzรณ la mayorรญa de edad, cambiando finalmente su nombre. Tomรณ clases de grabado con Emilio Amero, donde conociรณ a su futuro compaรฑero de vida y artรญstico, Josรฉ Chรกvez Morado. Se casaron en 1935, formando una uniรณn que no solo fue emotiva sino tambiรฉn profundamente creativa. Olga Costa se dedicรณ a construir un cuerpo de trabajo marcado por una profunda originalidad. Sus pinturas son notables por su exaltaciรณn del color, sรญntesis formal y una mirada amorosa hacia la vida popular mexicana. Su universo eran flores, frutas, mujeres anรณnimas y altares domรฉsticos. Su pintura mรกs celebrada es La vendedora de frutas (1951), considerada un รญcono del arte moderno mexicano. El mรกximo reconocimiento a su carrera llegรณ en 1990 cuando le fue otorgado el Premio Nacional de Artes y Ciencias en la categorรญa de Bellas Artes, uno de los mรกximos honores culturales de Mรฉxico. Falleciรณ en Guanajuato en 1993.
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Born as Olga Kostakowsky in Leipzig, Germany, 1913, Olga Costa arrived in Mexico in 1925, when she was just twelve years old. Her family, of Jewish-Russian origin, was seeking a place to rebuild their lives, It was in Mexico where she truly came of age, eventually changing her name to She took printmaking classes with Emilio Amero, where she met her future life and artistic partner, Josรฉ Chรกvez Morado. They married in 1935, forming a union that was not only emotional but also deeply creative. Olga Costa dedicated herself to building a body of work marked by profound originality. Her paintings are notable for their exaltation of color, formal synthesis, and a loving gaze toward Mexican popular life. Her universe was flowers, fruits, anonymous women, and domestic altars. Her most celebrated painting is La vendedora de frutas(1951), considered an icon of modern Mexican art, The highest recognition of her career came in 1990 when she was awarded the National Prize for Arts and Sciences in the Fine Arts category, one of Mexicoโs highest cultural honors. She died in Guanajuato in 1993
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FRUTAS
MUJERES Y MUCHACHAS MEXICANAS/MEXICAN WOMAN AND GIRLS
Mauricio Lasansky in his studio, Iowa City, IA ca. 1965
Biografรญa
Nacido en Buenos Aires, in 1914, Mauricio Lasansky es uno de los pocos artistas modernos que han limitado su obra casi exclusivamente a los medios grรกficos. Gracias a sus tempranas contribuciones al desarrollo de las tรฉcnicas grรกficas y a su dedicaciรณn al grabado, Lasansky es considerado un precursor en la evoluciรณn de las artes grรกficas como forma de arte crรญtico y ha sido reconocido como uno de los “Padres del Grabado Americano del Siglo XX”.
En 1936, a los veintidรณs aรฑos, ya era director de la Escuela Libre de Bellas Artes de Villa Marรญa, Cรณrdoba, Argentina. En 1943, Lasansky recibiรณ la prestigiosa Beca Guggenheim, con la que viajรณ a Estados Unidos y estudiรณ la colecciรณn de grabados del Museo Metropolitano de Arte. Esta oportunidad no solo le proporcionรณ un vasto conocimiento sobre grabados y grabadores, sino que tambiรฉn le brindรณ la oportunidad de conocer y trabajar con varios maestros europeos que habรญan huido a Estados Unidos durante la guerra. Para 1952, no solo habรญa recibido numerosos reconocimientos, premios y galardones, y contaba con una impresionante colecciรณn de exposiciones, sino que tambiรฉn se habรญa consolidado como ciudadano estadounidense.
Durante la dรฉcada de 1940, el interรฉs por el grabado como arte se revitalizรณ gracias a los talleres de artes grรกficas de la Administraciรณn de Progreso de Obras (WPA), y muchos artistas continuaron explorando el mรฉtodo tras la suspensiรณn de los proyectos de la WPA. El mรกs importante de estos estudios fue el Atelier 17 de Nueva York, fundado por Stanley William Hayter. El suyo fue el primer taller estadounidense independiente creado para la experimentaciรณn exclusiva con el proceso de grabado calcogrรกfico. Gracias a la labor de Hayter, el estudio captรณ la atenciรณn de artistas de todo el paรญs. Muchos de estos artistas se conocen actualmente como la Escuela de Nueva York. Estos artistas adoptaron el expresionismo abstracto como medio de expresiรณn estilรญstica y su obra transformรณ radicalmente el curso del grabado calcogrรกfico en Estados Unidos.
Muchos artistas, incluyendo a Lasansky, trabajaron extensamente en el Atelier 17 formulando nuevos mรฉtodos y creando nuevas tรฉcnicas tanto para sus temas como para sus grabados. Posteriormente, varios fueron invitados a establecer talleres de grabado en departamentos de arte universitarios de todo el paรญs. Uno de los primeros artistas en aceptar este reto fue Mauricio Lasansky, quien fundรณ el importante taller de grabado en la Universidad de Iowa. Hasta el dรญa de hoy, sirve de modelo para numerosos departamentos universitarios de grabado, dirigidos por muchos de sus antiguos alumnos.
La transmisiรณn de tรฉcnicas e ideologรญas consolidadas sobre tรฉcnicas innovadoras de grabado, a travรฉs de generaciones de profesores y alumnos, marca el legado del Atelier 17. Y es Lasansky, una de las primeras generaciones de estos grabadores, quien ha influido en el desarrollo del grabado en Estados Unidos.
Conocido sobre todo por sus grabados a gran escala, en los que utiliza mรบltiples planchas y gamas cromรกticas completas, Lasansky combina una amplia gama de tรฉcnicas grรกficas, incluyendo el aguafuerte, la punta seca, el aguatinta y el grabado. A lo largo de su evoluciรณn estilรญstica, ha creado elocuentes evocaciones figurativas, coloridas, frescas y espontรกneas. Sus obras tempranas y tardรญas demuestran que su imaginerรญa ha abordado constantemente elementos que han experimentado cambios y expansiones a lo largo de su creaciรณn. Por lo tanto, el tema de su arte es tan importante como el aspecto tรฉcnico de sus grabados.
Los retratos de Lasansky se presentan como ideales humanรญsticos en comparaciรณn con las figuras deshumanizadas que aparecen en sus otros grabados. Muchos de sus retratos comienzan en un formato individual, pero en muchas ocasiones la figura idealizada se degenera y se presenta en un espacio grรกfico en lugar de pictรณrico. Tiene una especial consideraciรณn por el espectador, ya que retrata la imagen dentro de su espacio.
Lasansky se ha dedicado a explorar las posibilidades expresivas de las artes grรกficas. Ha acumulado un conjunto de grabados considerados entre los mรกs impactantes e impactantes del arte contemporรกneo. Ha contribuido significativamente a consolidar el grabado como una forma de arte significativa y crucial del siglo XX. Y, como resultado, se ha convertido en uno de los primeros de una generaciรณn de importantes grabadores en enseรฑar a decenas de estudiantes, quienes a su vez enseรฑan a decenas de generaciones futuras en este paรญs. Por todas estas razones, se le considera uno de los “Padres del Grabado Americano del Siglo XX”.
Lasansky ha recibido cinco Becas Guggenheim, seis Doctorados Honoris Causa en Artes y numerosos premios y distinciones especiales. Su obra estรก representada en mรกs de cien colecciones pรบblicas, incluyendo prรกcticamente todos los principales museos de Estados Unidos. Reconocido internacionalmente, ha expuesto en Amรฉrica del Norte y del Sur, Europa y Rusia. Ya jubilado de la Universidad de Iowa, sigue siendo una inspiraciรณn para los artistas por sus contribuciones, la riqueza e intensidad de sus superficies impresas y su estilo profundamente personal.
__________________________________ Biography
Born in Buenos Aires, in 1914, Mauricio Lasansky is one of the few modern artists who have limited their works almost exclusively to the graphic media. Due to his early contributions in the development of graphic techniques and his dedication to printmaking, Lasansky is considered to be a forerunner in the evolution of the graphic arts as a critical art form and has become recognized as one of the “Fathers of 20th Century American Printmaking.”
In 1936, at the age of twenty-two, he had already become the director of the Free Fine Arts School, in Villa Maria, Cordoba, Argentina. In 1943, Lasansky was offered the prestigious Guggenheim Fellowship in which he came to the United States and studied the print collection at the Metropolitan Museum of Art. This opportunity not only afforded him a wealth of knowledge about prints and printmakers but created an opportunity for him to be exposed to and work with a number of European masters who had fled to the United States during wartimes. By 1952, he had not only received a great deal of recognition, prizes and awards, and had an impressive line of exhibitions, but also had established himself as an American citizen.
During the 1940’s, the interest in printmaking as a fine art was revitalized by the Works Progress Administration graphic arts workshops and many artists continued to explore the method after the WPA projects were discontinued. The most important of these studios was the New York Atelier 17 established by Stanley William Hayter. His was the first independent American workshop developed for exclusive experimentation of the intaglio process of printmaking. Through Hayter’s efforts, the studio gained the attention of artists from around the country. Many of these artists are now referred to as the New York School. These artists adopted Abstract Expressionism as a means of stylistic expression and their work radically altered the course of intaglio printmaking in America.
Many artists, including Lasansky, worked extensively at the Atelier 17 formulating new methods and creating new techniques for their subjects as well as their prints. Several were later invited to develop print-shops in university art departments around the country. One of the first artists to accept this challenge was Mauricio Lasansky. He established the vital printmaking workshop at the University of Iowa. To this day, it serves as a model for numerous other university printmaking departments led by many of Lasansky’s former students.
It is the passing down of established techniques and ideologies about innovative printmaking techniques from generations of these teachers and students that marks the legacy of Atelier 17. And, it is Lasansky, one of the first generations of these printmakers, who has influenced the course of printmaking in the United States.
Best known for large scale prints in which he uses multiple plates and full ranges of color, Lasansky combines a spectrum of graphic techniques including etching, drypoint, aquatint and engraving. Throughout his stylistic evolution, he has created eloquent figural statements that are colorful, fresh and spontaneous. His early and late works show that his imagery has consistently dealt with elements which have undergone change and expansion as the work was created. Therefore, the subject of his art is as important as the technical aspect of his printmaking.
Lasansky’s portraits appear as humanistic ideals when compared to the dehumanized figures that appear in his other prints. Many of his portraits begin in an individual format, but many times the idealized figure degenerates and is presented in graphic rather than pictorial space. He has a special regard for the spectator, as he portrays the image within the viewer’s space.
Lasansky has devoted himself to exploring the expressive possibilities of graphic arts. He has amassed a body of prints considered to be some of the most powerful and impressive in contemporary art. He has contributed significantly in establishing printmaking as a meaningful and critical art form of the 20th century. And, as a result, he has become one of the first in a generation of important printmakers to teach scores of students, who in turn are teaching scores of future generations in this country. For all these reasons, he is considered to be one of the “Fathers of 20th Century American Printmaking.”
Lasansky has been the recipient of a total of five Guggenheim Fellowships, six honorary Doctorate of Arts degrees and numerous prizes and special honors. His work is represented in more than one hundred public collections including virtually every major museum in the United States. Internationally recognized, he has been exhibited throughout North and South America, Europe and Russia. Now retired from the University of Iowa, he continues to be an inspiration to artists for his contributions, his richly and intensely printed surfaces, and his highly personal style.
Yaco Nowens naciรณ en Buenos Aires en 1938. Estudiรณ en la Escuela Nacional de Bellas Artes Manuel Belgrano y en los talleres de Josรฉ Maltz y Mรฉndez Terrero hasta 1965. Trabajรณ como dibujante en Clarรญn. Teรณrico de arte y coeditor de la revista de artes plรกsticas รleo y Mรกrmol junto con Teresa Pociello. Sus primeras muestras fueron como dibujante, junto a Quino, Garaycochea y Landrรบ. En 1964 o 1965 lo empiezan a invitar y Renรฉ Morรณn, su maestro y guรญa, lo obligรณ a exponer y asรญ comenzรณ. Dictรณ conferencias nacionales e internacionales. Miembro de Sociรฉtรฉ des Auteurs dans les Arts Graphiques et Plastiques de Parรญs. En 1972 invitado por la OEA viajรณ a Estados Unidos. Expuso en la Argentina, Estados Unidos, Israel, Corea, Venezuela, Espaรฑa, Ecuador, Francia y Cuba. โSu obra de los aรฑos 1960 era netamente confesional, desde el expresionismo, Mรกs adelante, impresionado por los informalistas del Grupo del Paso de Espaรฑa, Pollock y Kooning, su obra se mantiene dentro de una abstracciรณn lรญrica que nos permite adivinar el gesto de la pincelada manteniendo el todo dentro de composiciones de gran equilibrio geomรฉtrico y afรญn a las primeras etapas del cubismo. De colores restallantes, y de lรญneas que se entrecruzan a veces, para aludir a una marcada y cierta figuraciรณn paisajรญsticaโ, (Rafael Squirru). Tambiรฉn bajo la direcciรณn del artista plรกstico Yaco Nowens, el periรณdico judรญo y militante Nueva Presencia se seguirรญa editando desde 1987 hasta 1993, aรฑo en que Di Presse quebrรณ definitivamente.
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Yaco Nowens was born in Buenos Aires in 1938. He studied at the Manuel Belgrano National School of Fine Arts and in the workshops of Josรฉ Maltz and Mรฉndez Terrero until 1965. He worked as a draftsman for Clarรญn. He was an art theorist and co-editor of the visual arts magazine รleo y Mรกrmol together with Teresa Pociello. His first exhibitions were as a draftsman, alongside Quino, Garaycochea and Landrรบ. In 1964 or 1965 he began to receive invitations and Renรฉ Morรณn, his teacher and guide, forced him to exhibit and that’s how he began. He gave national and international lectures. He is a member of the Sociรฉtรฉ des Auteurs dans les Arts Graphiques et Plastiques in Paris. In 1972, invited by the OAS, he traveled to the United States. He exhibited in Argentina, the United States, Israel, Korea, Venezuela, Spain, Ecuador, France and Cuba. โHis work from the 1960s was clearly confessional, from an expressionist perspective. Later, impressed by the informalists of the Grupo del Paso in Spain, Pollock and Kooning, his work remained within a lyrical abstraction that allows us to guess the gesture of the brushstroke, keeping the whole within compositions of great geometric balance and akin to the early stages of cubism. With bright colours and lines that sometimes intersect, to allude to a marked and certain landscape figurationโ, (Rafael Squirru). Also, under the direction of the visual artist Yaco Nowens, the Jewish and militant newspaper Nueva Presencia continued to be published from 1987 to 1993, the year in which Di Presse went bankrupt definitively.
Retrato de Yaco Nowens por el gran artista judรญo-argentino Gyula Kosice/A Portrait of Yako Nowens by the great Argentine Jewish artist Gyula Kosice
Carlos Poveda naciรณ en San Josรฉ, Costa Rica, en 1940. Su obra artรญstica comenzรณ a exponerse a principios de la dรฉcada del 60 en el continente americano. En 1965 obtuvo la Menciรณn Honorรญfica para Dibujo de la VIII Bienal de Arte de Sao Paulo, Brasil, y el Premio Nacional de Pintura de Costa Rica. En el 2004 recibe el Premio Nacional de Escultura de Costa Rica, y en el 2005 el Premio Unico Francisco Narvรกez de la VIII Bienal de Escultura Francisco Narvรกez en Venezuela. Luego de haber vivido 30 aรฑos en Venezuela, actualmente reside en Paris.
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Carlos Poveda was born in San Josรฉ, Costa Rica, in 1940. His artistic work began to be exhibited in the early 1960s in the American continent. In 1965 he received the Honorable Mention for Drawing at the VIII Sao Paulo Art Biennial, Brazil, and the National Painting Award of Costa Rica. In 2004 he received the National Sculpture Award of Costa Rica, and in 2005 the Francisco Narvรกez Unique Award of the VIII Francisco Narvรกez Sculpture Biennial in Venezuela. After having lived in Venezuela for 30 years, he currently resides in Paris.
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Dibujos y otras tรฉcnicas /Drawings and other Techniques
Nessim Bassan naciรณ en la ciudad de Panamรก en 1950. Bassan comenzรณ a exponer desde muy temprano, en 1968, donde obtuvo un gran รฉxito. Su arte fue admirado y valorado por reconocidos crรญticos de arte y curadores como Thomas Messer del Museo Solomon R. Guggenheim de Nueva York y Lester Cooke de la Galerรญa Nacional de Arte de Washington DC. En 1970, Josรฉ Gรณmez-Sicre, lo invitรณ a exponer en la Organizaciรณn de Estados Americanos en Washington DC, lo que posteriormente propiciรณ su participaciรณn en la Bienal de Sao Paulo de 1981. Despuรฉs de este sorprendente comienzo en su carrera artรญstica, se tomรณ un descanso del mundo del arte, dedicรณ su tiempo a su familia y comenzรณ a pintar por sรญ mismo. A finales de la dรฉcada de 1990, comenzรณ a pintar todos los dรญas y dedicรณ plenamente su tiempo a su arte. . Comenzรณ a explorar mรกs a fondo el arte cinรฉtico, incorporando madera y pintura. Su visiรณn de la cinรฉtica tiene una fuerte estรฉtica abstracta geomรฉtrica moderna, que da como resultado cientos de capas de pintura y texturas entrelazadas, que evocan fantasรญas conceptuales. Esta tรฉcnica refleja ademรกs una perfecta armonรญa entre mediciones matemรกticas controladas, oscilando entre la gravedad y las ilusiones รณpticas que son aparentemente simples pero intrincadas. El atractivo de las infinitas composiciones de Bassan es que son delicadas y elegantes ilusiones รณpticas, con un impecable equilibrio y precisiรณn visual. Nessim Bassan tuvo una importante exposiciรณn que iniciรณ en noviembre de 2022, en el Museo de Arte Contemporรกneo de Panamรก, y viajรณ al Museo Nacional de Identidad de Honduras, el Museo de Arte de El Salvador finalizรณ en el Museo de Arte Moderno Carlos Mรฉrida en Guatemala. . El artista vive y trabaja en Panamรก.
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Nessim Bassan was born in Panamรก City in 1950. Bassan started exhibiting very early on, in 1968, where he found great success. His art was admired and valued by renowned art critics and curators such as Thomas Messer from the Solomon R. Guggenheim Museum in New York and Lester Cooke from the National Gallery of Art in Washington DC. In 1970, Josรฉ Gรณmez-Sicre, invited him to exhibit at the Organization of American States in Washington DC, which later lead to his participation in the 1981 Sao Paulo Biennial. After this astonishing start to his artistic career, he took a break from the art world and dedicated his time to his family, and began painting for himself.During the late 1990s, he started painting every day, and fully dedicated his time to his art. He started to further explore kinetic art, incorporating wood and paint. His take on kinetics has a strong modern geometric abstract aesthetic, resulting in hundreds of layers of paint and interwoven textures, evoking conceptualfantasies. This technique further reflects a perfect harmony between controlled mathematical measurements, oscillating between gravity and optical illusions that are seemingly simple yet intricate. The allurement in Bassan’s infinite compositions is that they are delicate and elegant optical illusions, with an impeccable balance and visual precision. Nessim Bassan had a significant exhibition that began in November of 2022, at the Contemporary Art Museum in Panamรก, and traveled\ to the National Identity Museum of Honduras, The Museum of Art of El Salvador endedย at the Museum of Modern Art Carlos Mรฉrida in Guatemala. The artist lives and works in Panamรก.ย
Nacรญ en Argentina en 1952 y emigrรฉ a Israel en 1972. Graduada en Literatura Espaรฑola por la Universidad Hebrea de Jerusalรฉn. Postgrado en Ciencias de la Informaciรณn de la Universidad de Haifa. M.Ed. en Educaciรณn linguรญstica en sociedades multiculturales, del Instituto Levinsky del Profesorado. Mi proyecto de investigacion trata sobre las relaciones entre el ejercito y la sociedad civil en Israel, desde el ciberdiscursoHe iniciado un camino espiritual a traves de una reflexion sobre el proceso creativo y recientemente he iniciado estudios formales de Budismo en el marco de un curso para formacion de maestros de Meditacion budista. Ejerzo como profesora de Lengua y Literatura Espaรฑola, escritura creativa y arte.Poeta en espaรฑol y hebreo y traductora. Artista plรกstica e ilustradora.Publicada, premiada, antologada y traducida al inglรฉs, hebreo, francรฉs, portuguรฉs, italiano, alemรกn , mixteca y sueco. Autora de catorce poemarios que publico en internet, para el acceso de todos los lectores en espaรฑol: Anfibia, Cuerpo mediterrรกneo, Monรณlogo en la arena, Libro de las horas lejanas, Body Art, Revisiรณn de los amores, El abrazo de la diosa , Rios y penumbras, Homenaje a la caligrafia efimera, Zona, Movilizacion, Secuencias, Pausa y Paradero. Asimismo soy autora de dos poemarios en hebreo, inรฉditos: Orillas y Antes del viaje.En mi escritura reflejo las voces de un mandala interior en busca de armonรญa y equilibrio como รบnica supervivencia posible en este Medio Oriente excesivo, encandilante y luctuoso.Estudiรฉ Arte en la Academia de Bellas Artes de Florencia, Italia y en talleres de notables maestros en Israel como Iosef Hirsh, Dan Kriger y Aharon April. Ahora estoy aprendiendo caligrafia japonesa con el master zen japonรฉs Ishii Katsuo.
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I was born in Argentina in 1952 and emigrated to Israel in 1972. Graduated in Spanish Literature from the Hebrew University of Jerusalem. Postgraduate in Information Sciences from the University of Haifa. M.Ed. in Language Education in Multicultural Societies, from the Levinsky Teachers Institute. My research project is about the relations between the army and civil society in Israel, from cyberdiscourse. I have begun a spiritual path through a reflection on the creative process and I have recently begun formal studies of Buddhism within the framework of a training course. of Buddhist Meditation teachers. I work as a teacher of Spanish Language and Literature, creative writing and art. Poet in Spanish and Hebrew and translator. Visual artist and illustrator. Published, awarded, anthologized and translated into English, Hebrew, French, Portuguese, Italian, German, Mixtec and Swedish. Author of fourteen collections of poems that I publish on the internet, for access to all readers in Spanish: Anfibia, Cuerpo mediterrรกneo, Monรณlogo en la arena, Libro de las horas lejanas, Body Art, Revisiรณn de loamores, El abrazo de la diosa , Rios y penumbras, Homenaje a la caligrafia efimera, Zona, Movilizacion, Secuencias, Pausa y Paradero. I am also the author of two unpublished collections of poems in Hebrew: Shores and Before the Journey. In my writing I reflect the voices of an inner mandala in search of harmony and balance as the only possible survival in this excessive, dazzling and mournful Middle East. I studied Art in the Academy of Fine Arts in Florence, Italy and in workshops of notable masters in Israel such as Iosef Hirsh, Dan Kriger and Aharon April. Now I am learning Japanese calligraphy with the Japanese Zen master Ishii Katsuo.
Aรญda Socolovsky naciรณ en Montevideo. Estudiรณ en la Escuela de Bellas Artes y le Taller Torres Garcรญa. Se perfeccionรณ con Guillermo Fernรกndez y Nelson Ramos. Realizรณ mรกs de un centenar de exposiciones individuales y colectivas en su paรญs y EE.UU. Obtuvo innumerables premios. Poseen su obra colecciones de los EE.UU., El Salvador y Rรญo de Janeiro. Su obra integra los libros Al sur del sur de Susana Negri y 12 pintores uruguayos de Ernesto Heine.
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Aรญda Socolovsky was born in Montevideo. She studied in the School of Fine Arts and the Torres Garcรญa Studio. She completed her studies with Guillermo Fernรกndez and Nelson Ramos. She has had more than a hundred individual and group exhibitions in Uruguay and the United States. She won innumerable prizes. Collections in the United States, El Salvador and Rio de Janeiro own her works. She is Included in the books Al sur del sur [To the South of the South] by Susana Negri and 12 pintores uruguayos [12 Uruguayan Painters] by Ernesto Heine.
Susana Beibe, artista argentina, realizรณ su formaciรณn en pintura y escultura. Trabaja escultura en cemento, piedra, cerรกmica, metal y elementos no convencionales. Ademรกs realiza relieves con tรฉcnicas mixtas utilizando todos los derivados del papel.Estudiรณ en la Escuela Nacional de Cerรกmica y su formaciรณn en escultura y dibujo la realizo con los maestros: Leo Tavella, Aurelio Macchi y Leo Vinci. Algunos de sus esculturas monumentales estรกn emplazadas en el Centro Cultural San Martรญn, Plaza Seca, Buenos Aires, Parque Lenรญn, La Habana, Cuba. Museo Metropolitano, Buenos Aires. Invitada a dar seminarios sobre creatividad en Espaรฑa y Canada. Realizรณ el proyecto โJugando en la Veredaโ para la lX Bienal de La Habana, muestra colateral. Ganadora del proyecto del Monumento a la Humanidad por la Argentina a realizar por la Humanitad Foundation, United Kingdom. Susana Beibe integrรณ numerosas exposiciones colectivas en salones nacionales y municipales y realizรณ muestras individuales en espacios pรบblicos y privados, a nivel nacional e internacional. Sus obras se encuentran en colecciones institucionales y privadas de Argentina y el exterior.
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Serie Cabezas
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Susana Beibe, Argentine artist, completed her training in painting and sculpture. He works sculpture in cement, stone, ceramics, metal and unconventional elements. He also makes reliefs with mixed techniques using all derivatives of paper. He studied at the National School of Ceramics and his training in sculpture and drawing was done with the masters: Leo Tavella, Aurelio Macchi and Leo Vinci. Some of his monumental sculptures are located in the San Martรญn Cultural Center, Plaza Seca, Buenos Aires, Parque Lenรญn, Havana, Cuba. Metropolitan Museum, Buenos Aires. Invited to give seminars on creativity in Spain and Canada. He carried out the project โJugando en la Veredaโ for the 10th Havana Biennial, collateral exhibition. Winner of the Monument to Humanity for Argentina project to be carried out by the Humanitad Foundation, United Kingdom. Susana Beibe participated in numerous group exhibitions in national and municipal exhibitions and held individual exhibitions in public and private spaces, nationally and internationally. His works are found in institutional and private collections in Argentina and abroad.
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Durante sus vasta trayectoria como artista plรกstica y pintora, el arte de Susana habla por su colorido y su aproximaciรณn al mercado, siendo a la vez conmovedor y aplicable a todo tipo de espacios.
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Throughout her vast career as a visual artist and painter, Susana’s art speaks for its color and its approach to the market, being both moving and applicable to all types of spaces.
Mรณnica Goldstein naciรณ en 1953, Trabaja en Buenos Aires. Desde 1976 participa en muestras individuales y colectivas en Argentina y en el extranjero.
“De adolescente me conmovรญan las pinturas prehistรณricas. Pensรฉ que lo que llamamos arte debe ser esencial al ser humano, y decidรญ dedicarme a รฉl. Me formรฉ en el taller de Eva Garcรญa. Por aquella รฉpoca Max Ernst y Paul Klee eran los artistas que mรกs admiraba. Investiguรฉ tรฉcnicas y materiales. Fuรญ encontrando aquellos con los que estaba en consonancia. Paralelamente estudiรฉ el pensamiento de India en la Universidad del Salvador. A mediados de los 80 comencรฉ a practicar meditaciรณn budista y yoga; mรกs adelante me formรฉ como instructora. Me acerquรฉ a los teรณricos, artistas y filรณsofos del arte contemporรกneo. Todo esto modificรณ tanto mi forma de producciรณn como la obra. El uso de tรฉcnicas automรกticas y la influencia del surrealismo fueron cediendo su lugar, surgiรณ otra actitud. En mi taller entro en รญntima relaciรณn conmigo misma, en un espacio silencioso, de tiempos pausados. Me interesan la posibilidad de evoluciรณn del ser humano, el Tiempo, la Libertad. Mi obra recorre distintas disciplinas: pintura, dibujo, monocopia, relieves, objetos, alguna instalaciรณn. Hacia finales de los 80 comencรฉ a producir libros de artista. La mayorรญa de ellos son ejemplares รบnicos, si bien he hecho tambiรฉn pequeรฑas ediciones. Trabajรฉ en diversos formatos: libro-objeto, rollos, libros intervenidos, entre otros”.
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Mรณnica Goldstein was born 1953 and works in Buenos Aires. Since 1976, she has taken part in numerous solo and group exhibitions, both in Argentina and in the rest of the world.
“As a teenager I was touched by prehistoric paintings. I thought that which we call art had to be essential to humans, and so I decided to dedicate myself to it. I studied with the artist and art teacher Eva Garcรญa. By that time, Max Ernst and Paul Klee were the artists I admired the most. I researched techniques and materials. I found those I was in tune with. At the same time, I studied Indian thought at Universidad del Salvador. In the mid-eighties, I started practicing Buddhist meditation and yoga, and later I trained as an instructor.I became closer to the theorists, artists and philosophers of contemporary art. All this changed both my way of production and the work itself. The use of automatic techniques and the influence of surrealism gradually lost ground and a different attitude emerged. In my atelier, I establish an intimate relationship with myself, in a quiet space with slower times. I am interested in the potential for evolution of the human being, Time, Freedom. My production runs across different disciplines: painting, drawing, monoprint, reliefs, objects, some installations. Towards the end of the 1980s, I also began to produce artistsโ books. Most of my books are unique, but I have also published small editions. I have worked in a variety of formats โbook art objects, scrolls, intervention in books, among others.”
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El arte de Mรณnica Goldstein/Mรณnica Goldstein’s Art
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Obras de varias tรฉcnicas: /Works in various techniques:
Pintura, รณleo, fotografรญa, lรกpiz graso, monocopia sobre fiselina. Lรกpiz graso sobre acrรญlico, dibujo, tinta china/ Painting, oil, photography, grease pencil, monocopy on fiseline. Oily pencil on acrylic, drawing, Chinese ink
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Sonidos de Taa-Ga. 2003. Pintura, รณleo y fotografรญa sobre MDF.1.50 m x 0.90 m.
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El Salar del Silencio, dรญptico. 2011. Oleo y lรกpiz graso sobre MDF. 200 cm x 100 cm.
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En medio del camino. Dรญptico. 2016. Pintura. Acrรญlico sobre MDF. 164 cm x 42 cm
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En el Salar. 2015. Dibujo. Lรกpiz graso sobre plancha de acrรญlico. 45 cm x 160,5 cm x 7 cm.
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Tiempo de quietud. 2013. Monocopia sobre fiselina. Lรกpiz graso sobre acrรญlico. 44 cm x 200 cm.
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Como un Eco, dรญptico. 2018. Dibujo, acrรญlico y Dibujo.sobre MDF. 200 cm x 100 cm
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Cordillera. 2018. Monocopia. 95 cm x 31 cm.
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Imperturbables II, dรญptico. 2019. Pintura, acrรญlico sobre MDF. 85 cm x 82 cm
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Imperturbables III. Monocopia. Oleo y lรกpiz litogrรกfico sobre papel. 118 x 48 cm.
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El Vigรญa. 2019. Dibujo. Tinta china, lรกpices y acrรญlico sobre MDF.
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Una vez un Lugar. 2022. Pintura, รณleo sobre MDF.184 x 70 cm
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Marin County. 2022. Monocopia, รณleo sobre papel 190 grs. 112 x 40 cm.
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Libros de artista
“La dificultad de definir quรฉ es un libro de artista me interesa. Cada vez que encuentro una definiciรณn al mismo tiempo surge una obra que la desborda. Hay una frase de un gran maestro de Budismo Tibetano, Lama Anagarika Govinda, que dice “La libertad no es indocilidad ni desenfreno, sino la expresiรณn de la ley interior de uno’. Creo que cada libro de artista logrado tiene un orden, una ley interior que lo sostiene.”
Mรณnica Goldstein, 2014.
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Artist’s Books
“The difficulty of defining what an artist’s book is interests me. Every time I find a definition, at the same time a work emerges that surpasses it. There is a phrase from a great teacher of Tibetan Buddhism, Lama Anagarika Govinda, who says ‘Freedom is not indocility or debauchery, but the expression of one’s inner law.’ I believe that every accomplished artist’s book has an order, an inner law that sustains it.
Mรณnica Goldstein, 2014.
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Shambala. 2008. Unico ejemplar. Libro modificado, tรฉcnica mixta, piedras, impresiones digitales, pintura. 27 cm x 33 cm x 9 cm/ Unique artist’s book. Modified book, mixed technique, stones, digital prints, painting. 27cm x 33cm x 9cm.
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REINOS MITICOS. 2009. รnico ejemplar. 7 pรกginas rรญgidas sobre una base de madera en la que se encastran en un eje central. Cada hoja estรก pintada de ambos lados y tiene un dibujo lineal que se continรบa al desplegar las 7 pรกginas en orden para conformar un paisaje total en una cara y con 7 imรกgenes diferentes en la otra. 58 cm x 14 cm x 10 cm/
2009. Unique artist’s book. 7 rigid pages on a wooden base which they fit into a central axis. Each sheet is painted on both sides and has a linear drawing that continues when unfolding the 7 pages in order to form a total landscape on one side and with 7 different images on the other. 58cm x 14cm x 10cm/
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Mi Principio mi Fin. รnico ejemplar. Tinta en papel japonรฉs Macau, Golden Panda, encuadernado en tela. 17,5 cm x 51,5 cm x 1 cm./ Unique artist’s book. Ink on Macau Japanese paper, Golden Panda, cloth bound. 17.5cm x 51.5cm x 1cm.
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SERIE SENDEROS, obras nรบmeros 3, 5 y 6
Tรฉcnicas: Dibujo e Ink jet print en papel ilustraciรณn mate 140 grs. Pastel tiza, lรกpices diversos, grafito, รณleo pastel/ Drawing and ink jet print on 140 gr matte illustration paper. pastel chalk, various pencils, grafiti, pastel oil.
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obra nยฐ3. 2021. Dibujo e Ink jet print en papel ilustraciรณn mate 140 grs. Pastel tiza, lรกpices diversos, grafito, รณleo pastel. 49,5 x 130 cm
obra nยฐ 5. 2022. Dibujo e Ink jet print en papel ilustraciรณn mate 140 grs. Pastel tiza, lรกpices grasos. 49,5 x 130 cm
Gustavo Grisoski naciรณ en Buenos Aires en 1963. Se graduรณ como Arquitecto de la Universidad de Buenos Aires. Realizรณ exposiciones en el Centro Cultural Recoleta y otras gallerias en Buenos Aires y el exterior. Fue seccionado para el Premio del Salรณn Nacional de Artes Visuales 2000 (Palais de Glace, Bs. As.)
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Gustavo Grisoski was born in Buenos Aires in 1963. He is an Architect, having graduated fromโthe University of Buenos Aires. He has had shows in the Recoleta Cultural Center and in other galleries and museums in Buenos Aires. Grisoski was awarded by the National Salon Prize for Visual Arts at the โPalais de Glaceโ in Buenos Aires.
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Gustavo Grisoski les pinta, con afecciรณn y algo de surrealismo, a los judรญos devotos/โGustavo Grisoski paints, with affection an a bit of surrealism, the devote Jews.
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Sin tรญtulo/No title
Mรกs allรก de sรญ mismos/Beyond themselves
Mรกs allรก de sรญ mismos-2/Beyond themselves-2
Notas mรญsticas/Mystical Notes
Se abre el camino/Opening the Way
Dรณnde estoy?/Where Am I?
No temas/Don’t fear
Duelo/Grief
Expansiones/Espansions
Between Heaven and Earth/Entre el cielo y la tierra
Carlos Kravetz (1953-) viviรณ en Israel y Alemania. Se formรณ en Avni Institute of Fine Arts, Tel Aviv, en talleres con Emilio Renart y M. Stempelsztejn, y en estudios con diversos teรณricos del arte. Tambiรฉn estudiรณ Arquitectura en la FADU (UBA) y en el Technion, Haifa. Expone en Argentina desde 1979 y fuera del paรญs desde 1991.
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Carlos Kravetz (1953-) lived in Israel and Germany. He trained at Avni Institute of Fine Arts, Tel Aviv, in workshops with Emilio Renart and M. Stempelsztejn, and in studies with various art theorists. He also studied Architecture at FADU (UBA) and at the Technion, Haifa. He has exhibited in Argentina since 1979 and outside the country since 1991.
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Carlos Kravetz comenta sobre su arte:
Me preocupa mostrar, aunque sea parcialmente, la realidad que me circunda, las cosas que me pasan a mรญ y a otros… Buenos Aires es un marco de fondo, pero que condiciona: la gente expresa de alguna manera la presiรณn a que la somete la vida en nuestra ciudad. Eso se percibe en cada gesto si observamos con atenciรณn. Me preocupa tambiรฉn el paso del tiempo, modificรกndonos. ะฃ exagerando nuestros valores o defectos. Y me preocupan la locura y ese espacio sutil entre ella y aquello considerado normal. Quiero mostrar eso sin ‘lavar’ mi obra, expresando plรกsticamente toda la belleza contenida en la fealdad, la vejez o la locura, que no es justamente la belleza clรกsica. Me interesa mostrar una parte de la realidad: dar mi aporte para que el arte estรฉ menos separado de la vida: no me interesa para nada un arte de especulaciรณn metafรญsica, sino de una reflexiรณn sobre lo cotidiano que permita que nos reconozcamos en รฉl; un arte que no se disocie devolviendo imรกgenes que no nos pertenecen. . .
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Carlos Kravetz comments on his art:
I am concerned about showing, even partially, the reality that surrounds me, the things that happen to me and othersโฆ Buenos Aires is a background setting, but one that conditions: people express in some way the pressure to which they are subjected by life in our city. This can be perceived in each gesture if we look carefully. I am also concerned about the passage of time, changing us, exaggerating our values โโor defects. And I am concerned about madness and that subtle space between it and what is considered normal. I want to show that without ‘washing’ my work, plastically expressing all the beauty contained in ugliness, old age or madness, which is not exactly classical beauty. I am interested in showing a part of reality: giving my contribution so that art is less separated from life: I am not at all interested in an art of metaphysical speculation, but rather a reflection on the everyday that allows us to recognize ourselves in it; an art that does not dissociate itself by returning images that do not belong to us. . .
La defensa del medio ambiente sustenta el tema pictรณrico de Orestes Larios Zaak, (1953-) quien por la obra de la vida recibiรณ en esta ciudad el premio โFidelio Ponce de Leรณnโ, principal lauro que concede el Consejo Provincial de las Artes Plรกsticas. Ese autor con 37 aรฑos de labor profesional acumula, ademรกs, entre otros galardones, el de tres concursos internacionales, incluido uno auspiciado por el Programa Mundial de Alimentos, de la Organizaciรณn de las Naciones Unidas para la Agricultura y la Alimentaciรณn. Plantas y animales son los protagonistas de sus cuadros, con los cuales es el creador camagรผeyano en la esfera de las artes con la mรกs voluminosa y sistemรกtica dedicaciรณn a defender la naturaleza. Fue el mayor promotor de la existencia de la Galerรญa-Taller Larios, de la que es el director-fundador. Situada en una casona colonial en el sector de esta ciudad declarado Patrimonio Cultural de la Humanidad, la instituciรณn desempeรฑa acciones de impacto comunitario, y constituye un foco cultural en vertientes como la plรกstica y las actuaciones musicales. Larios Zaak ha participado en mรกs de 60 exposiciones, incluidas 15 personales, en Cuba, Italia, Estados Unidos de Amรฉrica y Espaรฑa, entre otros paรญses. (AIN)
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The defense of the environment is the motivating force for Orestes Larios Zaak, (1953-) who for his life’s work received in this city the โFidelio Ponce de Leรณnโ prize, the main award awarded by the Provincial Council of the Plastic Arts. This author, with 37 years of professional work, also has other awards international competitions, including one sponsored by the World Food Program of the Food and Agriculture Organization of the United Nations. Plants and animals are the protagonists of his paintings. He is the Camagรผey, Cuba-based artist who has the most voluminous and systematic dedication to defending nature. He is the founding director of the Larios Gallery-Workshop, which is located in a colonial mansion in the sector of the city that was declared a part of the Cultural Heritage of Humanity. The institution has community impact and constitutes a cultural focus for art and musical performances. Larios Zaak has participated in more than 60 exhibitions, including 15 personal ones, in Cuba, Italy, the United States of America and Spain, among other countries.(AIN)
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Pinturas inspiradas por la naturaleza/Paintings inspired by nature
Para Alicia Segal, La fotografรญa ha sido uno de sus intereses fundamentales. La cรกmera ha sido su compaรฑera permanente. Fue miembro de foto-clubes. Su necesidad de aprender la acercรณ a Horacio Coppola y Grete Stern, de quien fue discรญpula, asistente y curadora. Trabajรณ por medios de Argentina y del exterior y para instituciones comunitarias. Ha ejercido la docencia de fotografรญa. Realizรณ muchas exhibiciones en Buenos Aires, Jerusalรฉn, Nueva York, Boston y Parรญs.
For Alicia Segal, photography has been one of her fundamental interests. The camera has been her permanent companion. She was a member of photo-clubs. Her need to learn brought her closer to Horacio Coppola and Grete Stern, of whom she was a disciple, assistant, and curator. He worked for media in Argentina and abroad and for community institutions.She taught. She has had many exhibitions in Buenos Aires, Jerusalem, New York, Boston, and Paris.
Saรบl Kaminer nace en la Ciudad de Mรฉxico en 1952. Entre 1970-75 estudia en la Escuela Nacional de Arquitectura de la UNAM. Obtiene su titulo de Arquitecto con una tesis sobre la fundaciรณn de las ciudades prehispรกnicas Teotihuacรกn, Tula y Tenochtitlรกn. En 1976 se instala en Paris, donde permanece durante 22 aรฑos guardando un fuerte contacto con Mรฉxico. Realiza estudios de doctorado en el Instituto de Urbanismo de Paris. Actualmente comparte su tiempo entre Francia y Mรฉxico.Ubicado en Paris, en 1982 se hizo miembro fundador del grupo MAGIA-IMAGEN integrado por ocho artistas latinoamericanos, el cual fue disuelto en 1992, este grupo tuvo una intensa relaciรณn con el pintor Roberto Matta. Desde 1973 ha realizado 70 exposiciones individuales desde 1978 al 2020, ha participado en mรกs de 170 exposiciones colectivas en galerรญas y museos de Mรฉxico y Paises como Francia, E. U., Nicaragua, Italia, Espaรฑa, Inglaterra, Argentina, Chile, Alemania, Repรบblica Dominicana, Suiza, Perรบ, Puerto Rico y Cuba.
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Saรบl Kaminer was born in Mexico City in 1952. Between 1970-75 he studied at the National School of Architecture at UNAM. He obtained his title of Architect with a thesis on the foundation of the pre-Hispanic cities Teotihuacรกn, Tula and Tenochtitlรกn. In 1976 he settled in Paris, where he stayed for 22 years keeping a strong contact with Mexico. He is doing doctoral studies at the Institute of Urbanism in Paris. He currently shares his time between France and Mexico. Located in Paris, in 1982 he became a founding member of the MAGIA-IMAGEN group made up of eight Latin American artists, which was dissolved in 1992. This group had an intense relationship with the painter Roberto Matta. Since 1973 he has had 70 individual exhibitions; From 1978 to 2020, he has participated in more than 170 collective exhibitions in galleries and museums in Mexico and countries such as France, the United States, Nicaragua, Italy, Spain, England, Argentina, Chile, Germany, the Dominican Republic, Switzerland, Peru, Puerto Rico and Cuba.
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Variaciones en el arte de Saรบl Kaminer/Variations in the Art of Saรบl Kaminer
Ein Sof 1963 imprint on styrene on stone and wood baseSize:62.5 x 26 x 23 cm. (24.6 x 10.2 x 9.1 in.)
Lugar del desierto
Amor lejano, Signed and dated Parรญs 94, Lithograph 37/ 150, 63 x 47 cm / 24.8 x 18.5 inches.
Las voces del cielo (The Voices in the Sky), 2018. Oil on canvas. 47 1โ4 in. (120 cm) diameter.
The Mountain and the Seed, 2015. Glass, Wood and steel. 22 x 15 x 2 in. (56 x 38 x 5 cm.).
The Photographer
Portrait de lโOiseau-Qui-NโExiste-Pas, 2005. Mixed media on paper laid down on canvas, 38 x 28 cm.
Le Souffle de la Terre, Oil on canvas, diameter 120 cm. 2015
La Peluquera (The Hairdresser), Oil on Canvas 65 ร 45 1/2 in | 165.1 ร 115.6 cm 2019
Ancรชtre, Oil on canvas, 15 2/5 ร 11 2/5 in | 39 ร 29 cm, 2019
Tour, Metal and ceramic 10 ร 9 1/10 ร 7 9/10 in | 25.5 ร 23 ร 20 cm, 2020
Coeur du Nord, Oil on canvas, 17 7/10 ร 13 4/5 in | 45 ร 35 cm, 2021
Gรฉo-รฉcriture, Oil on wood16 1/10 ร 10 3/5 in | 41 ร 27 cm, 2019
“Oestrus”, รณleo sobre tela, 195 x 260 cm, 2016
La boda. Engraving 30 x 27 cm 2004
Verticalitรฉ, commencement et semence, Arches cardboard 640 gr on paper, 13 1/5 ร 9 3/10 in | 33.5 ร 23.5 cm, 2021
Patricia Israel (1939-2011) naciรณ en Temuco, Chile, y realizรณ sus primeros estudios en la Academia de Escultura de Tรณtila Albert para luego cursar pintura y grabado en la Escuela de Bellas Artes de la Universidad de Chile. Viviรณ en Argentina y Venezuela. fue pintora y grabadora de origen judรญo adscrita a la corriente del Neo-expresionismo. Entre los ejes temรกticos de su trabajo estรกn las diversas situaciones que simbolizan la relaciรณn del humano con el mundo, desarrollando temas especรญficos, como el del holocausto judรญo, pero que traspasado al รกmbito del arte, representa dolores y horrores universales. Esa uniรณn se presenta siempre bajo un pulcro tratamiento formal que permite vislumbrar al dibujo como soporte de su imaginario, utilizando tanto el color como la tela misma, como soporte de la composiciรณn. Ese modus operandi, que ha sido la punta de lanza de su producciรณn desde el inicio, le permitiรณ en sus trabajos mรกs recientes abordar con mรกs fuerza temas americanistas. Partiendo su investigaciรณn en textos literarios, rescataba imรกgenes iconogrรกficas como el conquistador y los dominados, representando la aรบn utรณpica liberaciรณn sudamericana.Israel fue la primera mujer en ganar la Bienal Internacional de Arte de Valparaรญso (1991) algo muy significativo para ella, ya que desde muy el comienzo de su carrera asumiรณ y defendiรณ su postura como mujer, chilena y latina en defensa de la injusticia de gรฉnero como analogรญa del sufrimiento de los oprimidos. De ahรญ que su pintura โMujerโ del mismo aรฑo sea un homenaje a esta lucha.Su obra ha sido exhibida internacionalmente destacando su participaciรณn en la Bienal de Venecia en 1974 y el Premio Altazor a las Artes Nacionales recibido el aรฑo despuรฉs de su muerte, en 2012.
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Patricia Israel (1939-2011) was born in Temuco, Chile and studied at the Tรณtila Albert Sculpture Academy, before studying at the School of Fine Arts of the University of Chile. She lived in Argentina and Venezuela. She was a painter and engraver of Jewish origin attached to Neo-expressionism. Among the thematic axes of her work are the various situations that symbolize the human relationship with the world, developing specific themes, such as the Jewish Holocaust, but which, transferred to the field of art, represents universal pain and horror. This union is always presented under a neat formal treatment that allows us to glimpse the drawing as a support for his imaginary, using both color and the fabric itself, as a support for the composition.That modus operandi, which has been the spearhead of his production from the beginning, allowed her to address Americanist themes more forcefully in his most recent works. Starting her research in literary texts, she rescued iconographic images such as the conqueror and the dominated, representing the still utopian South American liberation. Israel was the first woman to win the Valparaรญso International Art Biennial (1991), something very significant for her, since from the very beginning of her career she assumed and defended her position as a woman, Chilean and Latina in defense of gender injustice, as an analogy for the suffering of the oppressed. Hence, his painting “Woman” from the same year is a tribute to this fight. Her work has been exhibited internationally, highlighting his participation in the Venice Biennale in 1974 and the Altazor Award for National Arts received the year after her death in 2012.
Lihie Talmor naciรณ en 1944 en Tel-Aviv, Israel. Recibe un B.Sc. en Arquitectura y Planificaciรณn Urbana de Technion, Haifa, Israel. Completa su B.A. en Poรฉtica y Literatura Comparada en la Universidad de Tel-Aviv en 1971 donde enseรฑa hasta 1974. Estudiรณ pintura en el estudio de Pinchas Abramovitz en Tel-Aviv. En 1980 se traslada a Caracas, Venezuela, y allรญ ingresa al Centro de Estudios de Artes Grรกficas (CEGRA) de 1981 a 1983, y estudia pintura en el estudio de Walter Margulis. Desde 1984 ha trabajado en proyectos de arte, impartido y participado en cursos en centros culturales y talleres en Italia, Bรฉlgica, Estados Unidos, Israel, Colombia y Venezuela. Trabaja en los campos del grabado, la escultura y la instalaciรณn. Talmor vive y trabaja en Israel y Venezuela.
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Lihie Talmor was born in 1944 in Tel-Aviv, Israel. Receives a B.Sc .in Architecture and Urban Planning from the Technion, Haifa, Israel. She completed her B.A. in Poetics and Comparative Literature at the University of Tel-Aviv in 1971 where she taught until 1974. Studied painting at Pinchas Abramovitzโ studio in Tel-Aviv. In 1980, moves to Caracas, Venezuela, and there enrolled at the Center of Studies for the Graphic Arts (CEGRA) from 1981 to 1983, and studied painting at Walter Margulisโ studio. Since 1984 she has worked on art projects, taught and participated in courses in cultural centers and workshops in Italy, Belgium, the United States, Israel, Colombia and Venezuela. Works in the fields of printmaking, sculptures and installations. Talmor ives and works in Israel and Venezuela.
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Lihie Talmor:
“”Mi intenciรณn no es una aproximaciรณn histรณrica ni periodรญstica, ni un testimonio ni una ilustraciรณn de los conflictos. Por el contrario, los espacios que (re)creo en mi obra son mรกs simbรณlicos que geogrรกficos. En un camino serpenteante entre la fotografรญa, el grabado, la pintura y otras tรฉcnicas, creo ficciรณn”.
“My intention is neither a historical nor a journalistic approach, neither testimony nor illustration of conflicts. On the contrary, the spaces I (re)create in my work are symbolic rather than geographical. On a meandering path between photography, etching, painting, and other techniques, I create fiction.”
Silvio Fischbein, 1949, artista visual y director de cine, vive y trabaja en Buenos Aires. Recibiรณ los tรญtulos de Arquitecto, aรฑo 1974 y Urbanista, aรฑo 1980, de la Universidad de Buenos Aires. Es Profesor Consultor de la Universidad de Buenos Aires. Participรณ en la creaciรณn y dirigiรณ las Escuelas Audiovisuales de ORT, Facultad de Arquitectura, Diseรฑo y Urbanismo de la Universidad de Buenos Aires, Facultad de Arte de la Universidad Nacional del Centro. Como guionista y director, realizรณ 30 cortometrajes, 5 largometrajes y 2 videoarte. Obtuvo el Premio George Meliรจs del Gobierno de Francia en 1984. Desde 1965, en las artes visuales, ha realizado 40 exposiciones individuales en el paรญs y en el exterior, y ha participado en salones y exposiciones colectivas. Fue becado en varias ocasiones por los Gobiernos de Canadรก y Francia. Entre otras distinciones, obtuvo la Beca Pollock โ Krasner Foundation, 2015 y 2018. En 2021 obtuvo el 1er. Premio en la 26 Bienal de Arte Textil, Argentina. Presidiรณ en repetidas ocasiones la Asociaciรณn Iberoamericana de Escuelas Audiovisuales y perteneciรณ al comitรฉ ejecutivo de la Asociaciรณn Internacional de Escuelas de Cine y TV, CILECT. Actualmente preside AAVRA, Asociaciรณn de Artistas Visuales de la Repรบblica Argentina.
Silvio Fischbein, 1949, visual artist and film director, lives and works in Buenos Aires. He received the titles of Architect, year 1974 and Urban Planner, year 1980, from the University of Buenos Aires. He is Consulting Professor at the University of Buenos Aires. He participated in the creation and directed the Audiovisual Schools of ORT, Faculty of Architecture, Design and Urbanism of the University of Buenos Aires, Faculty of Art of the National University of the Center. As a screenwriter and director, he made 30 short films, 5 feature films and 2 video art. He obtained the George Meliรจs Prize from the Government of France in 1984. Since 1965, in the visual arts, he has held 40 individual exhibitions in the country and abroad, and has participated in salons and collective exhibitions. He was awarded scholarships on several occasions by the Governments of Canada and France. Among other distinctions, he obtained the Pollock โ Krasner Foundation Scholarship, 2015 and 2018. In 2021 he obtained the 1st. Award at the 26th Biennial of Textile Art, Argentina. He repeatedly presided over the Ibero-American Association of Audiovisual Schools and belonged to the executive committee of the International Association of Film and TV Schools, CILECT. He currently chairs AAVRA, Association of Visual Artists of the Argentine Republic.
Andrรฉs Waissman nace e Buenos Aires en 1955 de padres judรญos. Comenzรณ a exponer muy tempranamente a mediados de los 70. En 1974, trabajรณ con Augusto Torres en Barcelona y en 1978 y con Antonio Seguรญ en Parรญs. En 1984, se radica en San Francisco, donde trabajรณ en el Consulado Argentino, organizando eventos culturales en representaciรณn de Argentina y desde donde desarrolla una carrera internacional exponiendo en diferentes galerรญas y museos de Los รngeles, San Francisco, Nueva York. Regresรณ a Buenos Aires y dirigรญa el programa de TV Styles, dedicado a rescatar los valores culturales. En 2005 se publicรณ el libro WAISSMAN. En 2010, se presenta en MALBA, el documental Waissman, PBS de EEUU. Desde 2012, participa e integra el equipo docente en un Programa Anual de Encuentros de Anรกlisis, Crรญtica y Producciรณn de Arte. Su arte muestra indirectamente la temรกtica judรญa.
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Andrรฉs Waissman was born in Buenos Aires in 1955 of Jewish parents. He began to exhibit very early in the mid-1970s. In 1974, he worked with Augusto Torres in Barcelona and in 1978 and with Antonio Seguรญ in Paris. In 1984, he settled in San Francisco, where he worked at the Argentine Consulate, organizing cultural events on behalf of Argentina and from where he developed an international career exhibiting in different galleries and museums in Los Angeles, San Francisco, New York. He returned to Buenos Aires and directed the TV program Styles, dedicated to rescuing cultural values. In 2005 the book WAISSMAN was published. In 2010, it is presented in MALBA, the documentary Waissman, PBS of the USA. Since 2012, he participates and integrates the teaching team in an Annual Program of Art Analysis, Criticism and Production Encounters. His work often hints at Jewish themes.
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“Andrรฉs Waissman es un artista que conoce tambiรฉn de geologรญa; de la mutaciรณn de las capas sucesivas de memoria en arte รฉtico. Sabe que sรณlo puede haber sociedad si las llagas de la historia esculpen la retina y se dejan pintar, asรญ: simples, potentes y bellรญsimas, como pliegues de porvenir, explosiones iniciales, movimiento, oleaje, estremecimiento, Big Bang. Terrible e irresistible vicio el de Andrรฉs Waissman, de situar en la pequeรฑa puerta de lo instantรกneo esos no-lugares en los que, justamente, hacer pensable el advenir y la apertura de “otros mundos posibles”.
Espronceda Centro de Arte — Barcelona
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“Andrรฉs Waissman is an artist who also knows geology; of the mutation of the successive layers of memory in ethical art. He knows that there can only be society if the wounds of history sculpt the retina and allow themselves to be painted, like this: simple, powerful and beautiful, like folds of the future, initial explosions, movement, waves, shudder, Big Bang. Terrible and irresistible vice that of Andrรฉs Waissman, of placing in the small door of the instantaneous those non-places in which, precisely, to make the future thinkable and the opening of “other possible worlds”.
Baruj Salinas (La Habana, 1935) pintor, escultor, grabador y ceramistacubano de origen judรญo, naciรณ en La Habana, Cuba en 1935.โ La carrera de Salinas se iniciรณ en el campo de la arquitectura. Se graduรณ de la Universidad de Ohio con un tรญtulo de arquitecto y emigrรณ de Cuba a Miamia, Fla. de forma permanente en 1959. Salinas estableciรณ en Miami y mรกs tarde se trasladรณ a Barcelona, donde estudiรณ junto a artistas Joan Mirรณ y Antoni Tร pies. Aunque la arquitectura informรณ a sus primeros trabajos, poco a poco se trasladรณ hacia una expresiรณn puramente abstracta. Su obra se asemeja a cuadros de espacio, donde el color es mรกs importante que la forma y la misma se convierte en un tema principal. Hay rastros, tambiรฉn, de las tradiciones judรญas, pero haber nacido en Cuba ha hecho su impacto. Para รฉl, Cuba es el trรณpico y la caรฑa de azรบcar, tambiรฉn es el sol y la luz. รl nunca dejarรก de ser cubano. Las pinturas de Salina se puede ver en las colecciones importantes de todo el mundo, como la Fundaciรณn Joan Mirรณ, de Barcelona, el Museo Nacional de Catalunya, Barcelona, el Instituto Nacional de Bellas Artes, Mรฉxico DF, el Uri Museo Beit, Israel, el Museo de Fort Lauderdale de las Artes, Florida, el Museo de Bellas Artes, Budapest, el Instituto de Arte de Chicago y el Museo de Arte de Phoenix, Arizona.
Baruj Salinas (Havana, 1935) Cuban painter, sculptor, engraver and ceramicist of Jewish origin, was born in Havana, Cuba in 1935. Salinas’s career began in the field of architecture. He graduated from Ohio University with an architecture degree and immigrated from Cuba to Miami, Fla. permanently in 1959. Salinas settled in Miami and later moved to Barcelona, โโwhere he studied alongside artists Joan Mirรณ and Antoni Tร pies. Although architecture informed his early work, he gradually moved towards a purely abstract expression. His work resembles paintings of space, where color is more important than form and form becomes a main theme. There are traces, too, of Jewish traditions, but being born in Cuba has made its impact. For him, Cuba is the tropics and the sugar cane, it is also the sun and the light. He will never stop being Cuban. Salina’s paintings can be seen in important collections around the world, such as the Joan Mirรณ Foundation, Barcelona, โโthe National Museum of Catalonia, Barcelona, โโthe National Institute of Fine Arts, Mexico City, the Uri Beit Museum, Israel, the Fort Lauderdale Museum of the Arts, Florida, the Museum of Fine Arts, Budapest, the Art Institute of Chicago, and the Phoenix Art Museum, Arizona.
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El proyecto de la Torah/The Torah Project
El Proyecto Torรก Humash contiene los cinco libros de Moisรฉs en hebreo, which is the original language. The Hebrew text is accompanied by commentaries, from recognized personalities in the arts and biblical studies, written in four languages. English, Spanish, Italian and German.There are 27 unique paintings from the Jewish Cuban artist โ Master Baruj Salinas, which were beautifully reproduced in the technique of litho-seriagraphy from the original paintings by the printing house Santa Chiara in the City of Urbino, Italy. This special Torah Project Humash has been printed on 100% cotton paper in 160 gr. which was supplied by the Magnani House, an Italian paper mill in Pescia, Italy. There are 126 editions of the Torah Project Humash and each one has a wooden cover (called the Jerusalem Book Cover), made by La Casa Gentili, in the small town of Fossombrone, Italy. All the books are numbered from 1 to 126 and signed by the artist Baruj Salinas and the publishing house ACC Arte Scritta, this aims to identify each book as authentic
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The Torah Project Humash has 372 pages and it contains all of the five books of Moses in Hebrew, which is the original language.The Hebrew text is accompanied by commentaries, from recognized personalities in the arts and biblical studies, written in four languages. English, Spanish, Italian and German.There are 27 unique paintings from the Jewish Cuban artist โ Master Baruj Salinas, which were beautifully reproduced in the technique of litho-seriagraphy from the original paintings by the printing house Santa Chiara in the City of Urbino, Italy. This special Torah Project Humash has been printed on 100% cotton paper in 160 gr. which was supplied by the Magnani House, an Italian paper mill in Pescia, Italy.There are 126 editions of the Torah Project Humash and each one has a wooden cover (called the Jerusalem Book Cover), made by La Casa Gentili, in the small town of Fossombrone, Italy.All the books are numbered from 1 to 126 and signed by the artist Baruj Salinas and the publishing house ACC Arte Scritta, this aims to identify each book as authentic.
Roberto Burle Marx fue paisagista, arquiteto, desenhista, pintor, gravador, litรณgrafo, escultor,tapeceiro, ceramista, designer de jรณias, decorador. Durante a infรขncia vive no Rio de Janeiro. Vai com a famรญlia para a Alemanha, em 1928. Em Berlim, estuda canto e se integra ร vida cultural da cidade, freqรผenta teatros, รณperas, museus e galerias de arte. Entra em contato com as obras de Vincent van Gogh (1853-1890), Pablo Picasso (1881-1973) e Paul Klee (1879-1940). Em 1929, freqรผenta o ateliรช de pintura de Degner Klemn. Nos jardins e museus botรขnicos de Dahlen, em Berlim, entusiasma-se ao encontrar exemplares da flora brasileira. De volta ao Brasil, faz curso de pintura e arquitetura na Escola Nacional de Belas Artes de Rio de Janeiro, entre 1930 e 1934.onde รฉ aluno. Em 1932, realiza seu primeiro projeto de jardim para a residรชncia da famรญlia Schwartz, no Rio de Janeiro. Entre 1934 e 1937, ocupa o cargo de diretor de parques e jardins do Recife, Pernambuco, onde passa a residir. Nesse perรญodo, vai com freqรผรชncia ao Rio de Janeiro e tem aulas com Candido Portinari (1903-1962) e com o escritor Mรกrio de Andrade (1893-1945), no Instituto de Arte da Universidade do Distrito Federal. Em 1937, retorna ao Rio de Janeiro. O final da dรฉcada de 1930 arca a integraรงรฃo de sua obra paisagรญstica ร arquitetura moderna, รฉpoca em que o artista experimenta formas orgรขnicas e sinuosas na elaboraรงรฃo de seus projetos. Sua paixรฃo por plantas remonta ร juventude, quando se interessa por botรขnica e jardinagem, mas รฉ em 1949 que Roberto Burle Marx organiza uma grande coleรงรฃo, quando adquire um sรญtio de 800.000 mยฒ, em Campo Grande, Rio de Janeiro. Em companhia de botรขnicos, realiza inรบmeras viagens por diversas regiรตes do paรญs, para coletar e catalogar exemplares de plantas, reproduzindo em sua obra a diversidade fitogeogrรกfica brasileira. Adaptado de https://www.guiadasartes.com.br/roberto-burle-marx/biografia
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Roberto Burle Marx was a Landscaper, architect, draughtsman, painter, engraver, lithographer, sculptor, upholsterer, potter, jewelry designer, decorator. During his childhood he lived in Rio de Janeiro. He went with his family to Germany in 1928. In Berlin, he studied singing and became part of the city’s cultural life, frequenting theaters, operas, museums and art galleries. He came into contact with the works of Vincent van Gogh (1853-1890), Pablo Picasso (1881-1973) and Paul Klee (1879-1940). In 1929, he attended the painting studio of Degner Klemn. In the gardens and botanical museums of Dahlen, in Berlin, he is excited to find specimens of Brazilian flora. Back in Brazil, he studied painting and architecture at the Escola Nacional de Belas Artes (Enba), Rio de Janeiro, between 1930 and 1934. In 1932, he carried out his first garden project for the Schwartz family’s residence in Rio de Janeiro. Between 1934 and 1937, he held the position of director of parks and gardens in Recife, Pernambuco, where he took up residence. During this period, he went frequently to Rio de Janeiro and took classes with Candido Portinari (1903-1962) and with the writer Mรกrio de Andrade (1893-1945), at the Art Institute of the University of the Federal District. In 1937, he returned to Rio de Janeiro. The end of the 1930s saw the integration of his landscape work into modern architecture, a time when the artist experimented with organic and sinuous forms in the elaboration of his projects. His passion for plants dates back to his youth, when he became interested in botany and gardening, but it was in 1949 that Roberto Burle Marx organized a large collection, when he acquired an 800,000 mยฒ site in Campo Grande, Rio de Janeiro. In the company of botanists, he made numerous trips to different regions of the country to collect and catalog plant specimens, reproducing the Brazilian phytogeographic diversity in his work. Adapted from: https://www.guiadasartes.com.br/roberto-burle-marx/biografia
Marta Riskin naciรณ en Rosario, Argentina. Es antropรณloga y escritora. Ha participado en multitudes de proyectos privados y estatales de tecnologรญa de la informaciรณn y la influencia polรญtica de las formas mediรกticas. Ha publicado una novel Y serรกs como un รกrbol. Ha realizado estudios sobre las religiones del extremo oriente y acerca de temas vinculados con la Cรกbala.
Marta Riskin was born in Rosario, Argentina. She is an anthropologist and writer. He has participated in multitudes of private and government projects on information technology and the political influence of media forms. He has published a novel And you will be like a tree. He has conducted studies on the religions of the Far East and on issues related to the Kabbalah.
Cuento de:/Story from: fragmento de/excerpt from: โY serรกs como un รกrbol.โ Ricardo Feierstein y Stephen A. Sadow. Eds. Recreando la cultura argentina 1894-2001: En el umbral del segundo siglo. Buenos Airesโ Editorial Milรก, 2002, pp. 392-394.
Es una historia antigua que estรก en el presente y camina hacia tu futuro.
Lo conocen los grillos y la contemplan emocionadas en sus viajes las estrellas fijas.
Dan fe de ella, los manuscritos con que los hombres han perpetuado antiguos mensajes.
Ahora, es necesario que tรบ la recuerdes.
Tambiรฉn he dudado. . . ยฟQuรฉ tenemos en comรบn yo, รrbol y tรบ, Humano?
ยฟCuรกl lengua comparten una estrella y un grillo?
ยฟQuรฉ podrรญa saber nuestro sol de otros soles?
Individualizamos por el lenguaje, serados por nuestras fronteras, aprendiendo a travรฉs de distintos รณrganos de percepciรณn. . .
ยฟQuรฉ nos acercarรก?
ยฟCรณmo darte algo mรกs que mis frutos?
ยฟCรณmo recibir algo distinto a tus cuidados y tu sierra?
De todos modos lo intentarรฉ. Cumple Esperanza no olvido.
Los antiguos dicen. . .En el comienzo, el Creador รบnico y solitario en su bondad decidiรณ decir y dijo.
Dijo Luz y v la luz se hizo. Y la separรณ de las sombras
Dijo cielos, tierra y mares. Y vio que era bueno.
Dijo plantas y รกrboles y nos creรณ.
Dijo animales y fueron vivos. Mรกs el hombre lo formรณ a su imagen y semejanza para que lo nombrara, cuidara y reservara sus creaturas. Y entonces descansรณ y celebrรณ lo creado.
Enamorado de su obra, el Creador esperaba el hombre tambiรฉn esperaba el hombre tambiรฉn la amara sintiendo la alegrรญa y la belleza de cada ser.
Para que pudiera compartir tanto amor, del propio costado del hombre, de sus huesos y su sangre, el Seรฑor modelรณ la mujer.
Era la edad de la inocencia.
Sรณlo deben elegir la รบnica ley que el Hacedor les habรญa impuesto: No comer del รกrbol del conocimiento del bien y del mal. Como Padre y Maestro habรญa explicado el motivo de la prohibiciรณn: no debรญan elementarse del conocimiento para aprender vivisecciona, desintegra, divide. Mata.
El hombre y la mujer decidieron desobedecer porque deseaban poder. Poder sin responsabilidad.
Ni siquiera reconocieron haber elegido comer el fruto prohibido, culpรกndose el uno al otro. Separรกndose.
No sabรญan amar a las otras criaturas, sin adueรฑarse y demostrarse cuanto dominio ejercรญan sobre ellos.
Ni siquiera advirtieron que al manipularse, renunciaban a parte de sรญ mismos: sutiles notas musicales que iluminaban de alegrรญa su mundo.
Olvidaron nutrirse del รกrbol de la vida que tambiรฉn en el centro, del dulce fruto del conocimiento integrado a lo vida. Del saber que se comprende reuniendo, abrazando y reverenciando cada una de las obras del Creador.
Dicen los antiguos que por extraรฑos motivos, el hombre no supo agradecer y apreciar aquello que le fuera dado sin esfuerzo propio.
Tendrรญa que aprender la diferencia entre el bien y el mal para reencontrar el รกrbol de la vida
ยกQuรฉ largo para el hombre construir su camino al retorno!
Resultaba difรญcil ayudarlo. Sus vibraciones se habรญan alejado demasiado de la nuestra, los รกrboles.
Nos extraรฑaba, sin reconocer nuestro parentesco.
En sus mejores momentos, suspirarรญa reflejando la hermosura en nosotros o se conmoverรญa por nuestro esfuerza de alturas, que era tambiรฉn el suyo y en otros suspenderรญa nos aterrarรญa proyectando sin versos nuevos objetos.
Con la paciencia que el Seรฑor nos enseรฑara, le enviรกbamos seรฑales, opacado el verde de nuestras hojas debilitando nuestros troncos. Era doloroso acompaรฑar la pena human con la nuestra.
Pretendรญa curarnos (para el hombre y para mรญ, la vida seguirรญa el centro mรกs preciado, aunque รฉl no pudiera aรบn reconocerlo), con polvos, brebajes y extraรฑos aparatos de su invenciรณn.
Dicen los antiguos que un dรญa el hombre apoyarรก sus manos en mi cuerpo, verรก hasta mi alma y recordarรก nuestra comรบn historia. Sabrรก es mi guardiรกn y mi amigo. No el Creador ni el Depredador.
Entonces alcanzaremos universos fantรกsticos.
Armarรฉ el prรณjimo como a sรญ mismo.
Dejarรก de matarse y matarme.
Serรก la justicia su vestimenta y la fe su armadura.
Transformarรก las espadas en arados y sus lanzas en tijeras y dejarรก de estudiar el arte de la guerra.
Se regocijarรก la tierra, se alegrarรกn las multitudes de las islas.
Desde algรบn lugar el รกrbol de la vida y desde aquรญ los รกrboles de formas mรบltiples, seguimos creciendo en el corazรณn del hombre.
Cumple Esperanza esta tarea de volver a ser Uno, dicen los antiguos.
It is an ancient story that exists in the present and moves toward the future.
The crickets know it and contemplate the fixed stars excited by their voyages.
They put their faith in it, the manuscripts with with which men have perpetuated ancient messages.
Now, it is necessary that you remember it.
I have doubted it too. . .What do we have in common, I, Tree, and you, Human?
What language do a star and a cricket share?
What could our sum know of other suns?
We individualize by language, XXX by our borders, learning through distinct organs of perception.
What will come near us?
How can I give your more than my fruits?
How to receive something different from your affection and your saw?
In any case, I will try it. โHe fulfills Hopesโ doesnโt forget;
He said Light and there was light. And he separated it from the shadows.
He said plants and animals and created us.
He said animals and they were alive. But Man, he formed in his image and likeness so he that could name, care for and set aside his creatures. And then he rested and celebrated the creation.
In love with his work, the Creator hoped that man that man also hoped; he hoped the man also love, feeling the joy and beauty of every being.
In order that he could share so much love, from nanโs own side, of his bones and his blood, the Lord modeled woman.
It was the age of innocence;
They only have to choose the only lay that the Maker had imposed on them: Do not eat from the tree of knowledge to learn
do vivisection, disintegrate, divide. Kill.
The man and the woman decided to disobey because they wanted power. Power without responsibility. They didnโt even acknowledge having eaten the prohibited fruit, each blaming each other.
They separated.
They didnโt know how to love the other creatures, without taking power over them and demonstrating how much control they exercised over them.
They didnโt even acknowledge that by changing a part of themselves: subtle musical notes that illuminate the joy of their world.
They forgot how to take nutrition from the tree of life, that in the center, from the sweet fruit of knowledge to integrate life. From the knowing that comes from reuniting, giving hugs and revering ever one of the works of the Creator.
The ancients say that for strange motives, man didnโt know how thank and appreciate that which was given to him without his own doing.
He would have to learn the difference between good and evil to find the tree of life again.
How long it would be for man to construct his way of return!
It was difficult to help him. His vibrations had gone so far from ours, the trees.
He missed us, without recognizing our relationship.
During his best moments, he would sigh, reflecting the beauty in us or would feel for our strength in the heights, that were also his, and during other moments, he would lay off XXXX projecting new objects without verses.
With the patience that the Lord taught us, we sent signals, covering the green of our leaves, weakening our trunks. It was painful to accompany the human pain with ours.
He intended to cure us (for man, for me, life would continue being the most valued center, although man still couldnโt recognize it,) with powders, potions and strange apparatus of his invention.
The ancient say that one day, man will help lean his hands on my body, will see as far as my soul and will remember our common history. He will know that he is my guardian and my friend. Not the Creator or the Predator.
Then we will reach fantastic universes.
I will make the neighbor into himself.
He will stop killing himself and killing me.
Justice will be his clothing and faith his armor.
He will transform swords into plowshares and his lances into scissors and will cease studying the art of war.
The world will rejoice , the multitudes of the islands will be glad.
From somewhere, the tree of life and from here the trees of multiple forms. We will continue growing in manโs heart.
โHope Servesโ this task of returning to be One,. The ancients say.
Costa Rica es el hogar de aproximadamente 4000 judรญos, la mayorรญa de ellos descendientes de los mรกs de 300 inmigrantes de Zelechow, Polonia, que llegaron a principios de la dรฉcada de 1930 en busca de oportunidades econรณmicas y huyendo de las primeras seรฑales de advertencia del gobierno nazi. El Museo de la Comunidad Judรญa de Costa Rica de San Josรฉ presenta la historia de esa inmigraciรณn, asรญ como los primeros aรฑos de los hombres como vendedores de puerta en puerta, cuando se ganaron el apodo yiddish de “clappers” por el sonido que hacรญan tocando puertasโse desarrolla a travรฉs de una serie de fotografรญas de archivo, paneles informativos y artefactos rituales. Valiosos shofars, tallits e instrumentos de brit milah atestiguan la adhesiรณn de los primeros pobladores a la vida religiosa. El museo es parte del Centro Israelita Sionista de Costa Rica, un extenso campus inaugurado en 2004. Con 2.500 miembros, esta es la direcciรณn principal ortodoxo para gran parte de lo judรญo en el paรญs: servicios de adoraciรณn diarios, certificaciรณn de kashrut, mikvehs, educaciรณn escolar diurna, programas para personas mayores y sociedad funeraria. Hay una sinagoga reformista. Los judรญos ocupan un lugar elevado y enrarecido en la sociedad costarricense. Operadores turรญsticos usan misma palabra: “elegante”, utilizada con reverencia en lugar de como un insultoโcuando lucha en inglรฉs para describir a los judรญos locales, muchos de los cuales son dueรฑos de importantes concesionarios de automรณviles, franquicias de comida rรกpida y otros negocios exitosos.
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Costa Rica is home to approximately 4,000 Jews, most of them descendants of the 300-plus immigrants from Zelechow, Poland, who arrived in the early 1930s looking for economic opportunity and fleeing the early warning signs of Nazi rule. In San Josรฉโs Museo de la Comunidad Judรญa de Costa Rica, the story of that immigration as well as the menโs early years as door-to-door salesmenโwhen they earned the Yiddish sobriquet โklappersโ for the sound they made knocking on doorsโunfolds through a series of archival photographs, informational panels and ritual artifacts. Treasured shofars, tallits and brit milah instruments testify to the earliest settlersโ adherence to religious life. The museum is housed in the Centro Israelita Sionista de Costa Rica, a sprawling multi-acre campus opened in 2004. With 2,500 members, this is the main address for most things Jewish in the countryโdaily Orthodox worship services, kashrut certification, mikvehs, day school education, senior programs and burial society. There is one Reform congregation. Jews inhabit a lofty, rarified place in Costa Rican society. Tour leaders use the word โfancy,โ with reverence rather than as a slurโwhen struggling in English to describe local Jews, many of whom own prominent car dealerships, fast-food franchises and other successful businesses.
โPaz y amorโ celebra no solamente la sobrevivencia de Sarita y su familia, sino la recepciรณn que recibieron de los judรญo costarricenses y la solidaridad de esa comunidad. Trata de la adaptaciรณn de Sarita a su vida nueva en Costa Rica. Tambiรฉn, es una historia de amor entre Samuel Rovinski que llegarรก a ser un escritor importante y su querida Sarita.
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“The Mountain of Saw Dust”
โPeace and Love’โcelebrates not only the survival of Sarita and her family, but also the reception they received by the Costa Rican Jews and the solidarity of that community. It deals with Saritaโs adaptation to her new life en Costa Rica. Also, it is adolescent love story between Samuel Rovinski, who would become an important writer, and his beloved Sarita.
Parque de la Vida – en honor de los 190 sobrevivientes del Holocausto que hicieron sus vida en Costa Rica/ Life Park – in honor of the 190 Holocaust survivors who made their lives in Costa Rica — Velma Faingerziedt, directora
Noรฉ Katz naciรณ en la Ciudad de Mรฉxico en 1953 de padres judรญos. Se iniciรณ como diseรฑador grรกfico luego de estudiar en la escuela del INBA, en la Ciudadela, y continuรณ su formaciรณn en la academia de Bellas Artes de Florencia, con una beca de la embajada de Italia en Mรฉxico y de la Secretarรญa de Relaciones Exteriores.Ha incursionado en el dibujo, la pintura, la escultura y la obra mural, ademรกs de dedicarse al diseรฑo editorial. Su obra forma parte de las colecciones del museo de arte moderno de Mรฉxico y otros museos del extranjero.Entre sus premios se puede mencionar el premio en el Museo Carillo Gil con el tema โSobre el humorโ. El premio de la Cรกmara Nacional de las Artes Grรกficas en Mรฉxico, el premio de la revista Escala de Aeromรฉxico a la mejor portada con motivo del Mundial Francia โ98, el premio de la Cรกmara de Artes Grรกficas de Brasil por su obra โEl รngelโ, y quizรก uno de los mรกs representativos: El premio por su timbre postal conmemorativo a los 100 aรฑos de presencia judรญa en Mรฉxico. Adaptado de Enlace Judรญo de Mรฉxico
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Noรฉ Katz was born in Mexico City in 1953 to Jewish parents. He began as a graphic designer after studying at the INBA school, in the Ciudadela, and continued his training at the Academy of Fine Arts in Florence, with a scholarship from the Italian embassy. in Mexico and the Ministry of Foreign Affairs. He has ventured into drawing, painting, sculpture and mural work, in addition to dedicating himself to editorial design. His work is part of the collections of the Museum of Modern Art in Mexico and other museums abroad. Among his awards we can mention the award at the Carillo Gil Museum with the theme “On humor”. The award from the National Chamber of Graphic Arts in Mexico, the award from Aeromรฉxico’s Escala magazine for the best cover on the occasion of the France ’98 World Cup, the award from the Brazilian Chamber of Graphic Arts for his work โEl รngelโ , and perhaps one of the most representative: The award for its commemorative postage stamp for 100 years of Jewish presence in Mexico. Adapted from Enlace Judรญo de Mรฉxico
โMy imagination leads me to design three-dimensional ideas. Sometimes I create on a smaller scale, imagining them being built in a much larger scale such as public spaces. Besides sculpture, I’m a full time painter who loves to let my imagination flow and I take pride in my technique as well. I enjoy the use of colors and smooth surfaces. I think that a person who wants to feel alive has to read, travel, love, and let himself be loved.โ Noรฉ Katz
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โMi imaginaciรณn me lleva a diseรฑar ideas tridimensionales. A veces creo en una escala mรกs pequeรฑa, imaginando que se construyen en una escala mucho mayor, como los espacios pรบblicos. Ademรกs de la escultura, soy un pintor a tiempo completo al que le encanta dejar fluir mi imaginaciรณn y tambiรฉn me enorgullezco de mi tรฉcnica. Disfruto el uso de colores y superficies lisas. Creo que una persona que quiere sentirse viva tiene que leer, viajar, amar y dejarse amarโ. Noรฉ Katz
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El premio por su timbre postal conmemorativo a los cien aรฑos de presencia judรญa en Mรฉxico/The prize for its commemorative postage stamp for one hundred years of Jewish presence in Mรฉxico
Su obra ha sido un intento por encontrar su lugar en el mundo. Si bien Esther Vainstein naciรณ en Lima en 1947, sus orรญgenes estรกn en Polonia y Rumania, de donde vinieron sus padres antes de estallar la Segunda Guerra Mundial. Eso los salvรณ del exterminio nazi. Sin embargo, la mayorรญa de su familia judรญa en Europa pereciรณ en loscampos de concentraciรณn. Actualmente, ella tiene una hermana y dos hijas que viven desde hace buen tiempo en Estados Unidos. Por eso, dice: โSoy la primera y la รบltima generaciรณn de mi familia en el Perรบโ.Esto la llevรณ a buscar sus raรญces a travรฉs de sus proyectos artรญsticos, y decidiรณ adoptar el desierto costeรฑo como su patria. โYo no conozco Polonia ni Rumania y tampoco tengo ganas de ir porque no quiero visitar los campos de concentraciรณn. Esto es como una bรบsqueda de raรญces en un paรญs que no es el mรญo, como tampoco lo son Polonia ni Rumania. Yo estudiรฉ cine y trabajรฉ nueve aรฑos en la BBC de Londres haciendo documentales sobre el Perรบ, viajรฉ mucho y descubrรญ el desierto que para mรญ resulta fantรกstico. Es un tema recurrente en mi obra desde hace 40 aรฑosโ, dice.Y el desierto costeรฑo estรก conectado con lo precolombino, con culturas como Chancay, Paracas y Nazca, temas que Esther Vainstein ha desarrollado en pinturas e instalaciones como la realizada en 2007, en el ICPNA, titulada Ofrendas de Barro y Viento / Cadencia y variaciones, una exposiciรณn antolรณgica de su obra, donde construyรณ una huaca enorme en la sala miraflorina. โEse aรฑo ocurriรณ el terremoto en Pisco โcuentaโ y se derrumbรณ una casa hecha de adobes en Chorrillos. Uno de los obreros que estaba trabajando conmigo me avisรณ del hecho y esa noche mandamos un camiรณn a recoger esos adobes y con ellos construรญ la instalaciรณn de la huaca. La hice con arena negra como sรญmbolo de la muerte causada por el terremoto. . . Fue toda una experienciaโ.Lo que a ella le interesa contar es eso que se esconde y revela en la aparente inercia del desierto. โEl desierto estรก vivo โdiceโ las arenas se mueven constantemente, tapan y destapan las cosas. En Paracas, en Nazca, en Palpa, por ejemplo, los vientos cambian mucho, y existen cosas que reciรฉn se han ido descubriendo, como las lรญneas Paracas, porque antes estaban ocultasโ. Se queda en silencio y segundos despuรฉs, agrega: โHace mรกs de 40 aรฑos, vivo frente al mar y creo que este es equivalente al desierto. Las mareas cambian, nunca nada es igual, todos los dรญas el mar es distinto, lo mismo sucede con el desierto, por eso cada persona tiene una visiรณn distinta de รฉlโ.
El Comercio, Lima
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His work has been an attempt to find his place in the world. Although Esther Vainstein was born in Lima in 1947, her origins are in Poland and Romania, where her parents came from before the outbreak of World War II. That saved them from Nazi extermination. However, most of his Jewish family in Europe perished in the concentration camps. Currently, she has a sister and two daughters who have long lived in the United States. For this reason, she says: โI am the first and the last generation of my family in Peru.โ This led her to seek her roots through her artistic projects, and she decided to adopt the coastal desert as her homeland. โI don’t know Poland or Romania and I don’t feel like going because I don’t want to visit the concentration camps. This is like a search for roots in a country that is not mine, and neither are Poland or Romania. I studied film and worked for the BBC in London for nine years making documentaries about Peru, I traveled a lot and discovered the desert, which for me is fantastic. It has been a recurring theme in my work for 40 years โ, he says. And the coastal desert is connected with the pre-Columbian, with cultures such as Chancay, Paracas and Nazca, themes that Esther Vainstein has developed in paintings and installations such as the one carried out in 2007, at the ICPNA, entitled Offerings of Clay and Wind / Cadence and Variations, an anthological exhibition of her work, where she built a Huge huaca in the Miraflorina room. โThat year the earthquake occurred in Pisco,โ he says, โand a house made of adobes collapsed in Chorrillos. One of the workers who was working with me told me of the fact and that night we sent a truck to collect those adobes and with them I built the installation of the huaca. I made it with black sand as a symbol of death caused by the earthquake. . . It was quite an experience. โWhat she is interested in telling is what is hidden and revealed in the apparent inertia of the desert. โThe desert is alive,โ he says, โthe sands are constantly moving, covering and uncovering things. In Paracas, in Nazca, in Palpa, for example, the winds change a lot, and there are things that have only recently been discovered, such as the Paracas lines, because before they were hidden โ. He remains silent and seconds later, he adds: โFor more than 40 years, I have lived in front of the sea and I think it is equivalent to the desert. The tides change, nothing is ever the same, every day the sea is different, the same happens with the desert, that is why each person has a different vision of it โ.
GRACIELA SHVARTZMAN (TOVA) es Licenciada en Sociologรญa por la Universidad de Buenos Aires y Licenciada en Historia Judรญa por el Instituto de Ciencias Judรญas de Buenos Aires. Ha sido profesora universitaria en Psicoanรกlisis en la Universidad de Buenos Aires, y otras Universidades, Ha ocupado cargos de direcciรณn en la comunidad judรญa en Argentina, asรญ como en programas nacionales y de Naciones Unidas (PNUD). Ha colaborado activamente en el tratamiento de las vรญctimas del atentado a la Embajada de Israel en Argentina, y de las vรญctimas del atentado de Amia en Buenos Aires y ha formado parte de la Comisiรณn de Investigaciรณn de la DAIA sobre los judรญos desaparecidos durante la dictadura. Ha impartido conferencias en Madrid, Jerusalรฉn, Tel Aviv, etc. y ha escrito artรญculos sobre cultura y mitos judรญos. Ha publicado โDe Grietas y Entretantosโ (libro de poesรญa). Ha realizado libros de artista (โEn cualquier aquรญโ, โEvanescenciaโ) y aรบn investiga este campo. Ha sido parte de LABA BA desde el principio, enseรฑando fuentes judรญas.
GRACIELA SHVARTZMAN (TOVA) has a degree in Sociology from the University of Buenos Aires, and a degree in Jewish History from the Institute of Jewish Sciences of Buenos Aires. She has been a university teacher in Psychoanalysis in the University of Buenos Aires, and others Universities, She has held positions of direction in the Jewish community in Argentina, as well as in national programs and the United Nations (UNDP). She has actively collaborated in the treatment of the victims of the attack on the Israeli Embassy in Argentina, and of the victims of the Amia attack in Buenos Aires and has been part of the DAIA Commission of Investigation on the disappeared Jews during the dictatorship. She has given conferences in Madrid, Jerusalem, Tel Aviv, etc. and has written articles on Jewish culture and myths. She has published โDe Grietas y Entretantosโ (poetry book). She has made artistยดs books (โEn cualquier aquรญโ, โEvanescenciaโ) and still investigates this field. She has been part of LABA BA from the beginning, teaching Jewish sources.
Patricia Indij naciรณ en Buenos Aires, Argentina en 1961. Arquitecta, Universidad de Buenos Aires. Su formaciรณn artรญstica fue adquirida en talleres de pintura de los maestros Heriberto Zorrilla, Helena Distรฉfano y clรญnica de obra con Marino Santamarรญa.
Estudiรณ teorรญa del arte, materias de posgrado de Especializaciรณn en curadurรญa en arte. Trabaja en sus producciones de curadurรญa, realiza curadurรญas de arte en instituciones y dicta clases de pintura en su taller en Buenos Aires.
Muestras individuales en Argentina: Colegio Pestalozzi 2019; Universidad UNLam, 2018, Teatro Nacional Cervantes 2016, Multiespacio de arte, Gral Pico, La Pampa 2015, Bolsa de Comercio de Bs As, 2015; Museo del Holocausto 2014, Consejo profesional de Ciencias Econรณmicas 2014, Centro Cultural Borges 2012, Honorable Senado de la Naciรณn 2009, Museo de la mujer 2009, Museo Manzana de las Luces โLa noche de los Museosโ2009, Museo Municipal de Bellas Artes de Lujรกn 2008, Galerรญa Bonenkamp Revale 2008, Espacio arte Aeropuertos internacional Jorge Newbery, Buenos Aires, Mendoza, Jujuy y Resistencia
Muestras colectivas: Museo Marรญtimo de Ushuaia 2012, Museo Metropolitano 2010, Bolsa de comercio de Buenos aires 2015, Crucero MS Bs. As, Punta del Este, Rรญo de Janeiro 2009/2010.Galerรญas de Arte en Buenos Aires, y Uruguay, ferias de arte Eggo 2015, Expotrastiendas 2006/2007/2010.
En el exterior, Muestras individuales: La Maison de l`Amerique Latine 2013, Embajada Argentina en Berlรญn 2012, Casa Argentina en Parรญs Ciudad Internacional Universitaria.
Patricia Indij was born in Buenos Aires, Argentina in 1961. Architect, Universidad de Buenos Aires. Her artistic training was acquired in the painting workshops of the masters Heriberto Zorrilla, Helena Distรฉfano and work clinic with Marino Santamarรญa.
She studied art theory, postgraduate courses of Specialization in curatorship in art. She works on her curaturial productions, conducts art curatorships in institutions and teaches painting classes in her workshop in Buenos Aires.
Individual Exhibitions in Argentina : Colegio Pestalozzi 2019; UNLam University, 2018, National Cervantes Theater 2016, Multiespacio de arte, Gral Pico, La Pampa 2015, Buenos Aires Stock Exchange, 2015; Holocaust Museum 2014, Professional Council of Economic Sciences 2014, Borges Cultural Center 2012, Honorable Senate of the Nation 2009, Museum of Women 2009, Manzana de las Luces Museum “The Night of Museums” 2009, Municipal Museum of Fine Arts of Lujรกn 2008, Bonenkamp Revale Gallery 2008, Jorge Newbery International Airports Art Space, Buenos Aires, Mendoza, Jujuy and Resistencia
Collective exhibitions : Maritime Museum of Ushuaia 2012, Metropolitan Museum 2010, Buenos Aires Stock Exchange 2015, Cruise ship MS Bs. As, Punta del Este, Rio de Janeiro 2009/2010. Galleries of Art in Buenos Aires, and Uruguay, Eggo art fairs 2015, Expotrastiendas 2006/2007/2010.
Abroad, individual exhibitions : La Maison de l`Amerique Latine 2013, Argentine Embassy in Berlin 2012, Argentine House in Paris International University City.
Una experiencia desbordante/An Exuberant Experience
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Obras de tinta sobre papel/Works of Ink on paper
Tinta 01/Tinta 01
Tinta 09/Ink 09
Tinta 05/Ink 05
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โINOCENCIA EN FUGAโฆBERLIN Y SUS FANTASMAS” (selecciones de una exhibiciรณn sobre Berlรญn y el Holocausto)
โuna sucesiรณn de imรกgenes que en cรกmara lenta hablan de destrucciรณn, de guerra, de una ciudad inmersa en el humo y los escombros, en donde se vislumbran siluetas solitarias, oscuras, quemadas, perdidas, caminando bajo el ensordecedor ruido de aviones rasantes o el crujir de estructuras de rascacielos a punto de caerโ.
Irene Jaievsky. ex-curadora Museo del Holocausto.
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“INNOCENCE ON THE RUN โฆ BERLIN AND ITS GHOSTS” (selections from an exhibition on Berlin and the Holocaust)
โA succession of images that in slow motion speak of destruction, of war, of a city immersed in smoke and debris, where lonely, dark, burned, lost silhouettes are glimpsed, walking under the deafening noise of low planes or the creak of skyscraper structures about to fall โ.
Irene Jaievsky, Former Curator of the Holocaust Museum, Buenos Aires
Prรณfugos de la esperanza/ Fugitives of Hope
El aliento de los inocentes/The Breath of the Innocents
Identidad y diversidad: Libro de Artista , cada uno de los catorce artistas visuales judรญos latinoamericanos reacciona a travรฉs del arte a un poema de cada uno de los catorce poemas de un poeta judรญo latinoamericano. Ninguno de los artistas simplemente ilustrรณ el poema, sino que utilizรณ pintura, dibujo, grabado y fotografรญa para expresar su comprensiรณn de la poesรญa. Por lo tanto, la poesรญa y el arte, conectados, crean una sinergia que expande enormemente el poder de ambos. Luego se agregaron las traducciones de los poemas al inglรฉs para que una audiencia mรกs amplia pudiera apreciar el efecto acumulativo de la interacciรณn de la poesรญa y el arte. Como la de los poetas, la obra de los artistas incorpora los valores judรญos con la cultura de su paรญs de nacimiento de adopciรณn: Argentina, Uruguay, Mรฉxico, Brasil, Costa Rica, Cuba, Perรบ, Bolivia y Venezuela: dos de Argentina se habรญan asentado en Israel. Los catorce poemas tratan temas centrales de la experiencia judรญa latinoamericana: la identidad judรญa, el Holocausto, el sentido de ser o no ser igual a otros ciudadanos en una Repรบblica latinoamericana, el bombardeo del centro comunitario AMIA en Buenos. Aires en 1994, Israel, Sefarad (Espaรฑa medieval antes de la Expulsiรณn), la Biblia y la Cabalรก.
Al crear cada uno de los libros de artista separados, de 17 โde alto por 11โ de ancho, el poema, el arte original y el poema en inglรฉs y las biografรญas breves de los poetas y las artes se encuadernaron en un gran trozo de cartรณn pesado doblado; cada combinaciรณn, entonces, se convirtiรณ en un libro de artista individual. Los catorce llevan el mismo diseรฑo de portada que unifica al grupo. Este artรญculo de โAmรฉrica Latina judรญaโ y el que le sigue son entradas del catรกlogo de una exposiciรณn que se exhibiรณ en el Museo Judรญo de Buenos Aires, la Librerรญa El Pรฉndulo-Polanco de la Ciudad de Mรฉxico y, en Estados Unidos, en el Consulado Argentino en Nueva York, Northeastern University, University of Texas-Austin, University of Denver, Arizona State University, University of Wisconsin-Milwaukee y Emmanuel College en Boston. Permanecen en exhibiciรณn permanente en el Centro Schusterman de Estudios Judรญos de la Universidad de Texas-Austin.
Los creadores del proyectos son Perla Bajder, Irene Jaievsky y Stephen A. Sadow
In this collection Identity and Diversity: Artist Book, each of fourteen Latin American Jewish visual artists react through art to one poem by each of fourteen poems by a Latin American Jewish poet. None of the artists simply illustrated the poem, but rather uses painting, drawing, engraving and photography to express their understanding of the poetry. Hence, poetry and art, connected, create a synergy that greatly expands the power of both. The translations of the poems into English were then added so that a broader audience could appreciate the cumulative effect of the interaction of poetry and art. Like that of the poets, the work of the artists incorporates Jewish values with the culture of their country of birth of adoption: Argentina, Uruguay, Mexico, Brazil, Costa Rica, Cuba, Peru, Bolivia and Venezuela: two from Argentina had settled in Israel. The fourteen poems deal with central issues of the Latin American Jewish experience: Jewish identity, The Holocaust, the sense of being or not being an equal to other citizens in a Latin American Republic , the bombing of the AMIA community center in Buenos Aires in 1994, Israel, Sepharad (medieval Spain before the Expulsion,) the Bible and Kabbalah.
In creating each of the separate artist books, 17โ high by 11โ wide, the poem, the original art and the poem in English and short biographies of the poets and arts were bound into a large folded piece of heavy cardboard; each combination, then, became an individual artistโs book. All fourteen bear the same cover design which unifies the group. This post in โJewish Latin Americaโ and the one that follows it entries from the catalogue of an exhibit that was shown in the Jewish Museum of Buenos Aires, the El Pรฉndulo-Polanco Bookstore in Mexico City, and, in the United States, at the Argentine Consulate in New York, Northeastern University, the University of Texas-Austin, The University of Denver, Arizona State University, the University of Wisconsin-Milwaukee and Emmanuel College in Boston. They remain on permanent exhibition at the Schusterman Center for Jewish Studies at the University of Texas-Austin.
The projects creators are Perla Bajder, Irene Jaievsky y Stephen A. Sadow
Eva Olivetti nace en Berlรญn, Alemania en 1924, hija de Karl Brager y Kรคhte Jacobsohn. Pintora. En 1939, a los quince aรฑos se radicรณ en Uruguay con su familia judรญa como parte de la oleada inmigratoria que escapรณ al nazismo. En 1948 se casรณ con Mario Olivetti. Entre 1949 y 1956 cursรณ la Licenciatura en Letras en la Facultad de Humanidades y Ciencias de la Universidad de la Repรบblica. Entre 1956 y 1959 integrรณ el taller del ceramista catalรกn Josep Collell. Entre 1959 y 1963 se incorporรณ al Taller Torres Garcรญa siendo alumna de Josรฉ Gurvich. Su obra gira en torno al paisaje, en obras de mediano y pequeรฑo formato.Se caracteriza por lograr una atmรณsfera รญntima, su sensibilidad se volcรณ en una pincelada leve, un trazo lineal casi ingrรกvido, una escala tonal de dorados y marrones apaciguados, donde lo material parece volatilizarse. Expuso individualmente en Uruguay desde 1960. El listado de muestras personales y participaciones colectivas es muy numeroso, habiendo realizado mรกs de ochenta exposiciones.En 2003 le fue otorgado el Premio a la Trayectoria en el 38ยบ Salรณn Municipal de Montevideo. Sus trabajos forman parte de colecciones particulares de Amรฉrica y Europa. Sus pinturas integran los acervos de museos de arte en Milรกn, Parรญs, Londres, Frankfurt, Viena, San Pablo, Buenos Aires y en el Museo Nacional de Artes Visuales en Montevideo, Uruguay. Fallece en Montevideo en 2013.
Eva Olivetti was born in Berlin, Germany in 1924, daughter of Karl Brager and Kรคhte Jacobsohn. Painter. In 1939, at the age of fifteen, he settled in Uruguay with his family as part of the wave of immigration that escaped Nazism. In 1948, she married Mario Olivetti. Between 1949 and 1956, she completed a Bachelor of Arts at the Faculty of Humanities and Sciences of the University of the Republic. Between 1956 and 1959 she joined the workshop of the Catalan ceramist Josep Collell. Between 1959 and 1963 she joined the Torres Garcรญa Workshop as a student of Josรฉ Gurvich. Her work revolves around the landscape, in works of medium and small format. It is characterized by achieving an intimate atmosphere, his sensitivity is overturned in a slight brushstroke, an almost weightless linear stroke, a tone scale of calmed golds and browns, where he material appears to volatilize. She exhibited individually in Uruguay since 1960. The list of personal exhibitions and collective participations is very numerous, including more than eighty exhibitions. In 2003, she was awarded the Lifetime Achievement Award at the 38th Montevideo Municipal Hall. Her works are part of private collections in America and Europe. Her paintings are part of the collections of art museums in Milan, Paris, London, Frankfurt, Vienna, Sรฃo Paulo, Buenos Aires and in the National Museum of Visual Arts in Montevideo, Uruguay. She died in Montevideo in 2013.
Pinturas de Eva Olivetti/ Paintings by Eva Olivetti
Esquina con รกrbol. รณleo sobre cartรณn, 1970
Fachada de ciudad vieja, รณleo sobre cartรณn, 1969
La nuez y el รกngelPaisaje, รณleo sobre cartรณn, 1966Dรญa de pesca, รณleo sobre cartรณn, 1978
Jarrรณn de flores, รณleo sobre cartรณn, 1967
Pintura, รณleo sobre madera, 1990Texturas de una noche: Vista de Tacuarembรณ
De un catรกlogo de una exhibiciรณn en Chile
Figuras, รณleo sobre cartรณn, s. f.
Naturalezas muertas, รณleo sobre madera, s. f.
Escena de ciudad, รณleo sobre madera, 1965รrbol, รณleo sobre papel pegado en fibra, s. f.,Ciudad, รณleo sobre madera, s. f.Obra ampliada sin tรญtuloOtra mirada de Montevideo, รณleo sobre cartรณn, 1965
Gunther Gerzso naciรณ en la ciudad de Mรฉxico en 1915. A los doce aรฑos se traslada a Suiza en donde realiza parte de sus estudios. En 1931 regresa a Mรฉxico. Tres aรฑos despuรฉs conoce a Fernando Wagner, actor, productor y director de teatro, quien utiliza los diseรฑos de Gerzso en el montaje de obras de Moliere, Shakespeare y Lope de Vega. De 1935 a 1940 reside en Estados Unidos. Estudiรณ en el Cleveland Playhouse en donde, gracias a la ayuda de Sol Cornberg, director tรฉcnico, se convierte en poco tiempo en el escenรณgrafo de teatro. A partir de 1940 comienza su trayectoria como pintor autodidacta. Su primera obra, “Dos Mujeres”, tiene una marcada influencia del pintor mexicano Carlos Orozco Romero. Durante los siguientes veinte aรฑos, Gerzso diseรฑa la escenografรญa de aproximadamente 250 pelรญculas. Trabaja con muchos directores, entre ellos Luis Buรฑuel, John Ford e Yves Allegret. Sus constantes viajes por la Repรบblica Mexicana, debidos a su trabajo en el rodaje de las pelรญculas, despiertan en รฉl un gran interรฉs por el arte precolombino. En 1994 conoce al grupo de surrealistas refugiados en Mรฉxico: Benjamรญn Pรฉret, Leonora Carrington, Remedios Varo y Wolfgang Paalen. Debido a la influencia de este grupo de artistas, su pintura se vuelve mรกs surrealista. En 1950 realiza su primera exposiciรณn individual en la Galerรญa de Arte Mexicano. Durante las siguientes cinco dรฉcadas, Gerzso presenta alrededor de 30 exposiciones individuales y participa en mรกs de cien muestras colectivas en Mรฉxico, Estados Unidos, Colombia, Brasil, Argentina, Venezuela, Puerto Rico, Francia, Italia, Inglaterra, Espaรฑa, Alemania, Japรณn e Israel. De las exposiciones individuales organizadas por museos destacan la retrospectiva en el Museo Nacional de Arte Moderno de la Ciudad de Mรฉxico (1963); Twenty years of Gunther Gerzso, Phoenix Art Museum, Arizona (1970); Museo de Arte Moderno de la Ciudad de Mรฉxico (1970 y 1977); An evening with Gunther Gerszo, Mexican Museum of San Francisco (1988). Gunther Gerzso falleciรณ en 2000.
Gunther Gerzso was born in Mexico City in 1915. At the age of twelve he moved to Switzerland where he carried out part of his studies. In 1931 he returned to Mexico. Three years later he met Fernando Wagner, actor, producer and theater director, who used Gerzso’s designs in the montage of works by Moliere, Shakespeare and Lope de Vega. From 1935 to 1940 he lived in the United States. He studied at the Cleveland Playhouse where, thanks to the help of Sol Cornberg, technical director, he quickly became the theater set designer. From 1940 he began his career as a self-taught painter. His first work, “Dos Mujeres”, is strongly influenced by the Mexican painter Carlos Orozco Romero. Over the next twenty years, Gerzso designed the scenery for approximately 250 films. He works with many directors, including Luis Buรฑuel, John Ford, and Yves Allegret. His constant travels through the Mexican Republic, due to his work in the filming of films, aroused in him a great interest in pre-Columbian art. In 1994 he met the group of surrealist refugees in Mexico: Benjamรญn Pรฉret, Leonora Carrington, Remedios Varo and Wolfgang Paalen. Due to the influence of this group of artists, his painting becomes more surreal. In 1950 he held his first solo exhibition at the Galerรญa de Arte Mexicano. Over the next five decades, Gerzso presented around 30 individual exhibitions and participated in more than one hundred group shows in Mexico, the United States, Colombia, Brazil, Argentina, Venezuela, Puerto Rico, France, Italy, England, Spain, Germany, Japan and Israel. Of the individual exhibitions organized by museums, the retrospective at the National Museum of Modern Art in Mexico City (1963) stands out; Twenty years of Gunther Gerzso, Phoenix Art Museum, Arizona (1970); Museum of Modern Art of Mexico City (1970 and 1977); An evening with Gunther Gerzso, Mexican Museum of San Francisco (1988). Gunther Gerzso passed away in 2000.
Pinturas de Gunther Gerzso/Paintings by Gunther Gerzso
Personaje en Rojo y Azul, 1964, oil on canvas
VERDE – AZUL – GERZSO – III – 78″ on the reverse oil on masonite, 1978 1Amarillo-Verde-Rojo-Azul, 1975 oil on masoniteTres Formas: Ancient Forms,, oil on Masonite, 1984
Estela Blanca, 1950
La Ciudad Perdida (The Lost City), Oil on hardboard, 1948
รngel “Tuyo” Contรญn Cresto, artista nacido en 1951 en la ciudad de Coro. Desde finales del siglo pasado, lo suyo es una sola obsesiรณn. Una tragedia universal, un genocidio sistemรกtico. Para Contรญn es irrelevante que este episodio histรณrico cuya brutalidad lo impulsรณ, tras una larga meditaciรณn personal, a emprender una cruda interpretaciรณn a travรฉs de su arte, ocurriera mucho tiempo atrรกs, entre 1939 y 1945, en la etapa apocalรญptica del llamado Tercer Reich. โSiempre pensรฉ que no podรญa terminar el siglo XX sin que le rindiera un homenaje a estos seres humanos que vivieron el horror de un extermino sin precedentes en la historiaโ, confiesa el artista. Las primeras historias del Holocausto causaron una impresiรณn indeleble en Contรญn en primer lugar de una forma visual, a travรฉs de desgarradoras imรกgenes recopiladas en varias publicaciones, un elemento que estรก claramente incorporado en varias piezas de esta colecciรณn. โMe impactaron mucho las fotografรญas reales del Holocausto, donde se puede observar las condiciones infrahumanas que sufrieron estas personas, un trato repugnante al ser humanoโ, explica. Una preocupaciรณn en particular lo impulsรณ para contribuir a mantener viva la memoria del exterminio judรญo: los llamados negadores del Holocausto,”la mayor y mรกs persistente mentira de la historia”, subrayรณ Contรญn tambiรฉn quedรณ cautivado por las historias de artistas que se convirtieron en prisioneros del horror de la campaรฑa de extermino nazi, a quienes particularmente dirige su homenaje. Por ejemplo, la historia del polaco Simon Pullmann, un extraordinario conductor de orquestas que quedรณ atrapado cuando visitaba el Gueto de Varsovia momentos antes que los alemanes invadieran Polonia, a fines de 1939. Se convirtiรณ en el director de la Orquesta Sinfรณnica del Gueto hasta que muriรณ, junto a todos sus compaรฑeros mรบsicos, entre ellos el joven violinista Ludwik Holcman, en el campo de concentraciรณn de Treblinka en 1944. Tambiรฉn le impactaron las historias de Marysia Afzensztat, conocida como el โRuiseรฑor del Guetoโ, hija del director de la coral de la Sinagoga de Varsovia, asesinada durante el extermino nazi; la del director de Coro Infantil Israel Fajwiszys, ejecutado en el campo de concentraciรณn de Poniatowa, en Polonia; y la del artista plรกstico Fรฉlix Frydman, ejecutado en Treblinka, tambiรฉn ย Contรญn dedicรณ una de las obras mรกs simbรณlicas a otra notable vรญctima judรญa del Holocausto: La diarista alemana Ana Frank. โAna Frank nos enriquece, nos enseรฑa, nos lleva a la purificaciรณn del alma. Contรญn registra el testimonio de Helga Deen, una diarista alemana como Ana Frank que muriรณ en el campo de concentraciรณn de Sobibor, Polonia. Deen dejรณ estas palabras: โMe siento tan รบnica. Cada dรญa vemos la libertad detrรกs de los alambres de espinos. Es demasiado. No puedo mรกs y maรฑana, de nuevo. Pero quiero poder, quiero, porque si mi voluntad muere, muero tambiรฉnโ.
รngel Contรญn Cresto, artist born in 1951 in the city of Coro. Since the end of the last century, hers has been a single obsession. A universal tragedy, a systematic genocide. For Contรญn, it is irrelevant that this historical episode whose brutality prompted him, after a long personal meditation, to undertake a crude interpretation through his art, occurred a long time ago, between 1939 and 1945, in the apocalyptic stage of the so-called Third Reich. “I always thought that the 20th century could not end without paying homage to these human beings who lived through the horror of an extermination without precedent in history”, confesses the artist. The early Holocaust stories made an indelible impression on Contรญn in the first place in a visual way, through harrowing images collected in various publications, an element that is clearly incorporated in several pieces of this collection, through heartbreaking images collected in various publications, an element that is clearly incorporated in several pieces of this collection. ZZZZZ subhuman conditions that these people suffered, a disgusting treatment of human beings, โhe explains. One concern in particular prompted him to help keep the memory of Jewish extermination alive: the so-called Holocaust deniers, “the biggest and most persistent lie in history,” Contรญn stressed. He was also captivated by the stories of artists who became prisoners. of the horror of the Nazi extermination campaign, to whom he particularly addresses his tribute. For example, the story of the Polish conductor Simon Pullmann, an extraordinary conductor of orchestras who was trapped when visiting the Warsaw Ghetto just before the Germans invaded Poland in late 1939. He became the conductor of the Ghetto Symphony Orchestra until He died, along with all his fellow musicians, including the young violinist Ludwik Holcman, in the Treblinka concentration camp in 1944. He was also struck by the stories of Marysia Afzensztat, known as the “Nightingale of the Ghetto”, daughter of the director of the Warsaw Synagogue choir, murdered during the Nazi extermination; that of the director of the Israel Fajwiszys Children’s Choir, executed in the Poniatowa concentration camp, in Poland; and that of the plastic artist Fรฉlix Frydman, executed in Treblinka, Contรญn also dedicated one of the most symbolic works to another notable Jewish victim of the Holocaust: the German diarist Anne Frank. โAnne Frank enriches us, teaches us, leads us to purification of the soul. Contรญn records the testimony of Helga Deen, a German diarist like Anne Frank who died in the Sobibor concentration camp, Poland. Deen left these words: โI feel so unique. Every day we see freedom behind barbed wire. It’s too much. I can’t take it anymore and tomorrow again. But I want power, I want to, because if my will dies, I die too โ.
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“Homenaje a los vรญctimas del Holocausto”/ “Homage to the Victims of the Holocaust”
Las obras de arte estรฃn en Miami y estรกn disponible para exhibir. Contacte a este blog./The artworks are in Miami and are available to be exhibited. Contact this blog.
Entre los pintores latinoamericanos mรกs exitosos, la forma de Sandra Beraha se compara con impresionistas anteriores, pero su uso de medios creativos, que incluyen tinta, pastel, acrรญlicos, lana, harina, madera, vidrio y especias la distingue. Sandra, quien comenzรณ su carrera como artista a los cuatro aรฑos, es una poeta publicada y lรญder en el campo de las artes visuales. Un punto culminante de su carrera, โMaravilloso Ecuadorโ (Ecuador maravilloso), una colecciรณn de mรกs de 700 pinturas, muestra la belleza natural de su hogar durante tiempos de incertidumbre polรญtica. Los crรญticos han seรฑalado: โDesde su regreso a Quito iniciรณ uno de los viajes mรกs difรญciles, el de elegir entre una de las mรบltiples fases de su personalidad creativaโฆโ Sus colecciones mรกs recientes combinan su pasiรณn por la pintura con la fotografรญa digital. Las obras de Sandra se han presentado en Amรฉrica del Norte y del Sur.
Among the most successful Latin American painters, Sandra Berahaโs form draws comparison to earlier impressionists, but her use of creative media, including ink, pastel, acrylics, wool, flour, wood, glass and spices sets her apart . Sandra, who began her career as an artist at age four, is a published poet and leader in the field of visual arts. A highlight of her career, โMarvilloso Ecuadorโ (Marvelous Ecuador) a collection of over 700 paintings, showcases the natural beauty of her home during politically uncertain times. Critics have noted, โSince her return to Quito she started one of the most difficult journeys โthat of choosing among one of the multiple phases of her creative personalityโฆโ Her most recent collections combine her passion for painting with digital photography. Sandraโs works has been featured in both North and South America.
El arte de Sandra Beraja/ The Art of Sandra Beraja
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Autorretrato
La poesรญa de Sandra Beraja/ The Poetry of Sandra Beraja
EL OLVIDO
Olvidรฉ leer,
Olvido de olvidar,
Aquel olvido, asรญ como nunca estar
Olvidarรฉ.
FORGETTING
I forgot to read,
I forgot to forget.
That forgetting, thus like never being.
I will forget.
EL PASADO
ยฟQuรฉ decir ya del pasado?
Lo que es.
Parte del tiempo que parte, parte.
THE PAST
Why still speak of the past?
What is.
A part of time that departs, departs.
LA DISCULPA
La disculpa es la culpa de ser,
Se mantiene en culpa por la disculpa.
THE EXCUSE
The excuse is the fault of being
One affirms guilt by the excuse.
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THE BATTLE
I have fought battles to reach your heart,
With mine naked to the storms.
Defeated I am by your thoughts.
So strong they are,
They buried my heart under the stones
That I placed in your yard.
There is where I lay,
Under the leaves that feel,
Under the snow that came.
Si tu amor fuera para siempre,
Vivirรญa eternamente
En el aliento que respiras.
Es allรญ donde yo siento
Respirando tu aliento.
Es el amor
Donde te encuentro,
Como si sudara a borbotones
Las insensatez de la exageraciรณn,
Una producciรณn al por mayor de ilusiones y desilusiรณn
Correteando el cansancio
Me arrastro hacia la luz de mis errores.
Dispuesta a vivir a pesar de mรญ misma,
Dispuesta a descansar en los brazos del riesgo de ser/ imperfecta,
Me preparo a dormir en mi propia soledad.
Una vez mรกs desnuda
Ante la falta de razรณn
Sudando a borbotones
Las ganas de compresiรณn.
Nada tengo ya que decir
Y quisiera saber si lo que he dicho de algo ha servido.
ยฟSerรก que llegarรฉ a silencio,
O que el silencio ha llegado a mรญ?
What am I thinking about.
Recuerdo mรกs que pienso,
Porque no sรฉ si recordar
Es pensar.
Los extremos desbordados
deformados
exagerados
huyen los sensatos
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THE BATTLE
I have fought battles to reach your heart,
With mine naked to the storms.
Defeated I am by your thoughts.
So strong they are,
They buried my heart under the stones
That I placed in your yard.
There is where I lay,
Under the leaves that feel,
Under the snow that came.
If your love was forever
I would live eternally
In the breath your breath,
It is there where I feel
Breathing your breath.
The craziness of exaggeration.
It is love
Where I meet you,
As if I was sweating at the boiling point.
A wholesale production of illusions and disillusion
Chasing weariness
I drag myself toward the light of my errors.
Ready to live in spite of myself,
Ready to rest in the arms of the risk of being imperfect.
I prepare to live in my own solitude.
Once more naked
Before the lack of reason
Sweating at a boil
The desire for understanding.
And I would like to know if what I have said has had/an effect.
Will it be that I arrive at silence
Or that the silence has arrived to me.
I recognized them, didnโt I without knowing who they are
I donโt have anything left to say,
What am I thinking about.
I remember more than I think,
Because I donโt know it remembering
Is thinking.
I always return home.
I always take off my clothes
I have wanted to live with you more
I have wanted to love you.
He querido.
I rarely go anywhere
And much further.
I would like to know what I feel.
Perhaps that may be because I feel nothing that I donโt/ know that I feel.
I wish to believe what I tell myself
And I tell myself things not to believe in.
The story continues without knowing what I feel.
I have spent so much time with me and with my stories,
That now what do I tell myself?
The extremes exceeded
deformed
exaggerated
flee the sensible.
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Osvaldo Romberg, hijo de inmigrantes judรญos, estudiรณ arquitectura en la Universidad de Buenos Aires. Enseรฑรณ arte en las Universidades de Buenos Aires, Cรณrdoba, Puerto Rico y Tucumรกn hasta 1973, cuando emigrรณ a Israel, enseรฑando en la Academia de Artes Bezalel y Diseรฑo por 20 aรฑos. Mรกs tarde, enseรฑรณ en la Academia de Bellas Artes de Pensilvania en Filadelfia. Durante las รบltimas cinco dรฉcadas y en los cinco continentes, Romberg ha producido trabajos que abordan cuestiones de anรกlisis del color, interpretaciรณn y representaciรณn del arte y la historia del arte, y las de pinturas histรณricas famosas para investigar las convenciones polรญticas y sociales de mirar y ver. Romberg se desempeรฑรณ como profesor en la Universidad Ben-Gurion, Israel, donde fundรณ un centro para cine experimental, video y arte mediรกtico. Ha exhibido ampliamente como artista en instituciones como el Kunsthistorisches Museum, Viena; Kunstmuseum, Bonn; Museo Ludwig, Colonia; Museo del Sudo, Tokio; El museo de Israel, Jerusalรฉn; El museo judรญo, Nueva York; la XLI Bienal de Venecia, Pabellรณn de Israel; El museo de arte de Filadelfia; Museo de Arte Moderno, Buenos Aires; y el Van Abbemuseum, Eindhoven.
Osvaldo Romberg, the son of Jewish immigrants, studied architecture at the University of Buenos Airesย Heย taught art at the Universities of Buenos Aires, Cรดrdoba, Puerto Rico and Tucumรกn until 1973, when he emigrated to Israel, teaching at the Bezalel Academy of Arts and Design for 20 years. Later, he taught at the Pennsylvania Academy of the Fine Arts in Philadelphia. Over the past five decades and on five continents, Romberg has producedย work that tackles questions of analysis of color, interpretation and representation of art and art history, and those of famous historical paintings to investigate the political and social conventions of looking and seeing.ย Romberg served as a professor at the Ben-Gurion University, Israel, where he a founded a center for experimental cinema, video and media art. He has exhibited widely as an artist at institutions including the Kunsthistorisches Museum, Vienna; Kunstmuseum, Bonn; Ludwig Museum, Cologne; Sudo Museum, Tokyo; The Israel Museum, Jerusalem; The Jewish Museum, New York; the XLI Venice Biennial, Israel Pavilion; The Philadelphia Museum of Art; the Museum of Modern Art, Buenos Aires; and the Van Abbemuseum, Eindhoven.
Descendiente de inmigrantes judรญos y criado durante el brutal perรญodo de la dictadura militar conocida como la “Revoluciรณn Argentina” (1966-1973), Guillermo Kuitca produce poderosas pinturas, esculturas, dibujos e instalaciones que resuenan con temas de aislamiento, dislocaciรณn y soledad. Aunque casi siempre estรก desprovisto de humanos, sus obras tienen un fuerte sentido de presencia humana, con motivos como carruseles de equipaje del aeropuerto, mapas, planos de apartamentos y grรกficos de asientos de teatros que se ejecutan en sus muchas creaciones. Como รฉl explica, sus obras sostienen โla verdad, la historia, el pasado, la experiencia.
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Descended from Jewish immigrants and raised during the brutal period of military dictatorship known as the โArgentine Revolutionโ (1966โ73), Guillermo Kuitca produces powerful paintings, sculptures, drawings, and installations resonant with themes of isolation, dislocation, and loneliness. Though almost always devoid of humans, his works have a strong sense of human presence, with motifs like airport baggage carousels, maps, apartment floor plans, and theater seating charts running throughout his many creations. As he explains, his works hold โthe truth, the story, the past, the experience.
Vรญctor Chab naciรณ en la ciudad de Buenos Aires, el 6 de septiembre de 1930, en el seno de una familia de inmigrantes judรญos. Nacidos en Damasco, luego de un breve paso por Cuba, sus padres se instalaron en la Argentina donde se dedicaron al comercio. A los trece aรฑos, apenas salido de la escuela primaria, Chab ya habรญa definido su vocaciรณn por la pintura. Autodidacta, asistiรณ a diversos talleres -brevemente al de Cecilia Marcovich y Demetrio Urruchรบa- hasta que conoce el taller libre MEEBA (Mutual de Estudiantes y Egresados de Bellas Artes) donde ejercita el oficio. En 1947 obtiene el Segundo Premio del XXVI Salรณn Anual de MEEBA, por la obra โManzana sobre mesaโ. En 1952 realiza la primera exposiciรณn individual en la galerรญa Plรกstica de la ciudad de Buenos Aires, comenzando asรญ una larga trayectoria, exponiendo tanto en Argentina como en el exterior. En 2001, exhibe pinturas en la galerรญa Rubbers. Estas obras altamente figurativas ponen en escena varios de los temas que Chab ha tratado en su larga carrera: automatismo versus imagen, representaciรณn versus delirio.
Victor Chab was born in the city of Buenos Aires, on September 6, 1930, in a family of Jewish immigrants. Born in Damascus, after a brief step through Cuba, his parents settled in Argentina where they worked in commerce. At thirteen, just after leaving elementary school, Chab had already defined his vocation for painting. Self-taught, he attended several workshops – especially that of Cecilia Marcovich and Demetrio Urruchรบa – until he meets the free workshop MEEBA (Mutual of Students and Graduates of Fine Arts) where he exercises the trade. In 1947 he obtained the Second Prize of the XXVI Annual MEEBA Salon, for the work โApple on tableโ. In 1952 he made the first individual exhibition in the Plastic Gallery of the city of Buenos Aires, thus beginning a long career, exhibiting both in Argentina and abroad. In 2001, he exhibits paintings in the Rubbers gallery. These highly figurative works put on stage several of the topics that Chab has dealt with in his long career: automatism versus image, representation versus delirium.
Patricia (Patty) Krasbuch naciรณ en Buenos Aires, Argentina, en 1956, y ha estudiado pintura desde que tenรญa seis aรฑos. De 1975 a 1989, Patricia viviรณ en Israel, donde estudiรณ pintura en Beer Sheva y Haifa. Al regresar a Argentina en 1989, Krasbuch estudiรณ decoraciรณn de interiores en Montevideo, diseรฑo grรกfico en Buenos Artes y continuรณ perfeccionando su tรฉcnica trabajando en los estudios de arte de varios pintores argentinos lรญderes. Patricia Krasbuch tambiรฉn estudiรณ con los lรญderes de grupos junguianos en la Fundaciรณn Vรญnculos en Buenos Aires; con el Dr. Carlos Menegazzo, estudiรณ el psicodrama de los sueรฑos, mitos y sรญmbolos. De su propio trabajo, Krasbuch explica: “Mi trabajo vincula los dos mundos, el de arriba con el de abajo, el cielo y earth, tierra, masculino y femenino, espรญritu y materia. El mundo material estรก en los espacios de silencio, el blanco, el Braille, los sรญmbolos, la luz. Cada color es un viaje meditativo; en รฉl, las cosas dejan de parecer formas concretas y se transforman en metรกforas para expresar el verdadero sentido de su existencia a travรฉs de su alma. Lo visible es el conocimiento, lo invisible es la sabidurรญa. En casi todo mi trabajo, uso textos en Braille, un tipo de metรกfora. Ademรกs, he incorporado elementos de la Cabalรก y textos sagrados en mi bรบsqueda creativa “. APRENDER A VER LO QUE NO SE VE, CERRAR TUS OJOS A QUร DISTRACTO. PARA ACEPTAR NUESTRA CEGUERA. PARA INTENTAR DESCUBRIR UNA VISIรN DE ARRIBA .
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Nota de Steve Sadow: Conocรญ a Patty Krasbuch, mientras compilaba un sitio web de artistas judรญo-latinoamericanos. Mรกs tarde, con Cristina Braidotti Z”L Irene Jaievsky y Josรฉ Rosenberg, estudiamos al efecto de la Liberaciรณn de los Campos de Concentraciรณn por los Aliados sobre sobrevivientes en la Argentina. La รบltima vez que la vi fue en 2014: una persona muy amable, simpรกtica con una intuiciรณn espiritual especial.
Patricia (Patty) Krasbuch was born in Buenos Aires, Argentina, in 1956, and has studied painting since she was age six years old. From 1975 to 1989 Patricia lived in Israel where she studied painting in Beer Sheva and Haifa. Upon returning to Argentina in 1989, Krasbuch studied interior decorating in Montevideo, graphic design in Buenos Artes and continued to perfect her technique by working in the art studios of several leading Argentine painters. Patricia Krasbuch has also studied with the leading of Jungian groups at the Vinculos Foundation in Buenos Aires; with Dr. Carlos Menegazzo, she studied the psychodrama of dreams, myths and symbols. Of her own work, Krasbuch explains: “My work links the two worlds, the one above with the one below, heaven and earth, masculine and feminine, spirit and matter. The Material world is in the spaces of silence, the white, the Braille, the symbols, the light. Every color is a meditative voyage; in it things cease to seem to be concrete forms and are transformed into metaphors in order to express the true sense of their existence through their soul.
The visible is the knowledge, the invisible is the wisdom. In almost all my work, I use texts in Braille,a type of metaphor. Also, I have incorporated elements of the Kabbalah and sacred texts into my creative search.”
TO LEARN TO SEE THAT WHICH IS UNSEEN,
TO CLOSE YOUR EYES TO WHAT DISTRACT,
TO ACCEPT OUR BLINDNESS,
TO TRY TO REDISCOVER A VISION FROM ABOVE.”
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Steve Sadow: I met Patty Krasbuch while compiling a website of Jewish-Latin American Art. Later, with Cristina Braidotti Z “L Irene Jaievsky and Josรฉ Rosenberg, we studied the effect of the Liberation of the Concentration Camps by the Allies on survivors in Argentina. The last time I saw her was in 2014: a very kind, sympathetic person with a lot of spiritual intuition.
Me gustarรญa contarles cรณmo lleguรฉ hasta esta apasionante profesiรณn. Comencรฉ un camino de bรบsqueda a travรฉs del arte. Durante varios aรฑos estudiรฉ con diferentes profesores que me enseรฑaron variadas tรฉcnicas de la escultura hasta llegar a estudiar Escenografรญa en el Instituto de Superior de Arte del teatro Colรณn (el mรกs importante teatro de รณperas y conciertos de Argentina y prestigioso a nivel internacional.
No existiendo todavรญa un estudio formal en Curadurรญa. Me formรฉ con Seminarios y Becas tanto nacionales como en el exterior y mi primera oportunidad llegรณ!!
Realizar la primera muestra permanente para el Museo del Holocausto de Buenos AiresโฆUna Gran Responsabilidad!! Y que luego de 20 aรฑos estรก en vรญas de ser renovada asรญ como el edificioโฆ
Lo que sigue es la propia evoluciรณn y crecimiento:
Curadora Museo del Holocausto de Buenos Aires-2001 al 2005
Curadora Museo de Arquitectura y Diseรฑo de Buenos Aires-2003 al 2007
Curadora Galerรญa Arte y Parte-Buenos Aires-2008 al 2010
Curadora Museo de la Mujer-Buenos Aires-2010 al 2017
Curadora – Museo de la Legislatura de la Cdad. de Buenos Aires-2015 al 2017
Al mismo tiempo se presentaban situaciones que amplificaron mis horizontes como trabajar con artistas en otros espacios privados, charlas, conferencias, Congresos, Becas y Seminarios Nacionales e Internacionales, escritura de Catรกlogos, artรญculos e Investigaciones.
Becas:
Becaria Fundaciรณn Antorchas, Nahum Goldman Fellowship, Getty Foundation, Smithsonian Institute, Jewish Theological Seminary- NYC y Task Force.
Conferencias dictadas en Congresos Internacionales:
Internacional Consejo de Museos en Viena y en Mรฉxico DF., en Jewish Theological Seminary NYC, en Northeastern University en Boston, en Florida International University, Universidad de Brasilia y en National Building Museum de Washington DCentre otros.
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Ahora despuรฉs de 17 aรฑos de ejercicio de la profesiรณn la idea es escribir un cuaderno prรกctico con algunas experiencias personales que puedan servir para la gran cantidad de alumnos y nuevos egresados dado que se han creado en estos รบltimos aรฑos muchos espacios para estudiar Curadurรญa.
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Autobiography:
I would like to tell you how I arrived at this enthralling profession. I began my search through art. For years, I studied with different professors who taught me varied techniques of sculpture, and then set design at the Superior Art Institute of the Colรณn Theater (the most important theater for opera and concerts in Argentina and internationally prestigious.)
At that time, a formal program of study in curating did not exist in Argentina. I learned by means of Seminars and fellowships in Argentina a well as in other countries, and my first opportunity arrived.
It was to develop the first permanent show for the Holocaust Museum in Buenos Aires. A Great Responsibility!! And 20 years later it, as well as its building is being renovated.
The positions that followed fostered my own evolution and growth
Curator – Museum of the Holocaust of Buenos Aires
2001-2005
Curator of the Museum of Architecture and Design of Buenos Aires โ 2003-2007
Curator Galerรญa Arte + Parte, Buenos Aires, 2008-2010
Curator Museum of the Woman, Buenos Aires, 2010-2017
Curator: Museum of the Legislature of the City of Buenos Aires, 2015-2017
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During those years, situations that amplified my horizons presented themselves, such as work with artist in private spaces, talks, lectures, conferences, fellowships on the national and international level, the writing of catalogues, articles and research.
Fellowships:
Fundaciรณn Antorchas, Nahum Goldman Fellowship, Getty Foundation, Smithsonian Institute, Jewish Theological Seminary- NYC y Task Force.
Lectures given at International Conferences:
International Council of Museum Vienna and Mexico DF, Jewish Theological Seminary NYC Northeastern University-Boston, Florida International University, University of Brasilia and the National Building Museum de Washington DC.
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Now, after 17 years of professional work, my idea is to write a practical workbook with personal experiences that would help the great number of students and new graduates in the last few years many ways of studying Curatorship.
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La Curadurรญa
La curadurรญa es una manera de conectar fluidamente dos รกmbitos que parecen ajenos entre si: la labor de los artistas visuales y las instituciones o espacios en donde se muestran sus obras y se contactan con su pรบblico. Es un medio que facilita y reinterpreta ambas necesidades.
Como curadora de arte especializada en museos mi misiรณn siempre fue la de darle visibilidad a las obras de artistas visuales (no importando su tรฉcnica) que pudiesen expresar con imรกgenes profundos pensamientos o sentimientos superando el lรญmite de la palabra Y es con la gestiรณn que se llevan a cabo las exhibiciones tanto nacionales como internacionales: con la bรบsqueda del artista/de los artistas y sus obras, la elecciรณn del espacio, el diseรฑo de montaje, color y luces, los textos que acompaรฑan la muestra, el diseรฑo del catรกlogo, el flyer de difusiรณn, entre otras cosasโฆy todo esto con el sostรฉn que la producciรณn del espacio/instituciรณn provee para tal fin.
Quisiera rescatar mi รบltima investigaciรณn sobre la cual me he expresado en el congreso de la Asociaciรณn de Estudios Judรญo-Latinoamericanos (LAJSA) in Miami (2015) Tratรณ de los trabajos y conceptos que los artistas visuales contemporรกneos judeo-argentinos han trabajado. He tenido el privilegio de haber trabajado con la mayorรญa.
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Curatorship
Curatorship is a way to connect fluidly two fields that seem to be very different: the work of visual artists and the institutions or spaces in which they show their works and make contact with their public,
It is a medium that facilitates and reinterprets both necessities.
As a curator of specialized art in museums, mi mission was to give visibility to the artists, no matter their techniques, that could express with profound images, thoughts of feelings, that go beyond the limit of the word. And it is the process that puts together exhibitions, be they local or international: with the search of the artist(s) and their work, the choice of the space, the design of the set-up, color and lights, the texts that accompany the exhibition the flyer for diffusion, among other things. . . and all this with the support the space or institution provides toward that end.
Iโd like to point out my most recent research paper presented at the Conference of the Latin American Jewish Studies Organization (LAJSA) in Miami in 2015. The paper dealt with the works and concepts that contemporary Argentine-Jewish artists have produced. I have had the privilege to have worked with the majority of them.
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Unos ejemplos de la curadurรญa de Irene Jaievsky/ Some examples of the curatorship of Irene Jaievsky
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Como coradura del Museo de la Mujer /As curator of the Museum of the Woman
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Como Curadora Independiente. Exhibiciรณn basada en la investigaciรณn realizada por un equipo interdisciplinario especialmente organizado por las autoridades del Museo Judรญo sobre la Historia de los judรญos en Argentina-Museo Judรญo de Buenos Aires -2013-
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As Independent Curator. Exhibition based on research carried out by and interdisciplinary team, specially organized by the directors of the Jewish Museum that dealt with the history of the Jews in Argentina. Jewish Museum, Buenos Aires, 2015.
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Creaciรณn y Organizaciรณn del nuevo Museo de la Legislatura de la Ciudad de Buenos Aires- Vista parcial del รกrea histรณrico-arquitectรณnico, 2015-
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As Curator of Creation and Organization of the new Museum of the Legislature of the city of Buenos Aires. Partial view of the historical-architectural area, 2015-
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Como ex-curadora del Museo del Holocausto de Buenos Aires y Curadora del Museo de la Mujer de Argentina fui convocada por la embajada de Canadรก para organizar una muestra colectiva dedicada a la mujer judรญa-Tiferet- Artistas invitadas Susana Beibe, Jazmine Bakalarz, Hilda Catz entre otras- Museo del Holocausto de Buenos Aires -2013-
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As curator of the Museum of the Holocaust of Buenos Aires and as Curator of the Museum of the Woman of Argentina, I was invited by the Embassy of Canada to organize a group show dedicated to the Jewish Woman-Tiferet. -Tiferet- Invited artists included Susana Beibe, Jazmine Bakalarz, Hilda Catz and others. – Museum of the Holocaust, de Buenos Aires, 2013.
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Sinagoga de Chemnitz.-Alemania-Como Curadora del Museo de Arquitectura y Diseรฑo se presentรณ la muestra de Alfred Jacoby: Espacios Sacros. Nuevas sinagogas alemanas-Este arquitecto judรญo construyรณ: 15 sinagogas en los lugares en donde fueron destruidas por los nazis las anteriores existentes. Luego se la presentรณ en el Seminario Rabรญnico de Buenos Aires-2006.
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Synagogue of Chemnitz, Germany, As Curator of the Museum of Architecture and Design, I directed an exhibition of the work of Alfred Jacobu: Sacred Spaces: New German Synagogues.by this Jewish architect who built 15 synagogues, in the original places. that were destroyed by the Nazis. The exhibit was also shown at the Rabbinical Seminary of Buenos Aires, 2006
Instalaciรณn del Totem canadiense en la Plaza Canadรก de la ciudad de Buenos Aires-zona Retiro- 2012- Durante dos aรฑos fui la curadora de este proyecto que realizรณ el artista Kwawitl Stan Hunt en la zona de Vancouver junto con la embajada argentina de Canadรก y el Gobierno de la Ciudad de Buenos Aires.
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Installation of the Canadian Totem in the Canada Plaza of the Retiro area of Buenos Aires, 2012. For two years, I was the curator of this project created by the artist Kwawitl Stan Hunt of Vancouver. The project was sponsored jointly by the Canadian Embassy in Argentina and the Government of the City of Buenos Aires.
Martin Blaszko (Martin Blaszkowski) naciรณ en Berlรญn en 1920. Como su familia era judรญa, se trasladaron a Polonia en 1933 y luego a Francia en 1938, donde conociรณ a Marc Chagall. En 1939 emigrรณ con su familia a Buenos Aires.
Comenzรณ su formaciรณn acadรฉmica en Europa con Jankel Adler y Enrique Barczinski. “En 1945, conocรญ a Carmelo Arden Quin, el fundador del grupo MADI. La claridad, la frialdad y la estricta ejecuciรณn de su obra me impresionaron profundamente”, declarรณย A partir de entonces รฉl tambiรฉn serรญa miembro del movimiento MADI.
En 1952 fue galardonado por el Instituto de Arte Contemporรกneo de Londres por su proyecto “Monumento al Prisionero Polรญtico Desconocido” expuesto en la Tate Gallery de Londres. En 1958, recibiรณ la medalla de bronce en la Feria Internacional de Bruselas. Se lo reconociรณ internacionalmente como uno de los escultores mรกs interesantes y originales de Argentina.
En 1990 formรณ parte de la exposiciรณn Artistas latinoamericanos del siglo XX, organizada por el Museo de Arte Moderno (MOMA) de Nueva York. In 2001, realizรณ una exposiciรณn individual en el Museo de Arte Moderno de Buenos Aires (MAMbA).
La obra de Blaszko refleja la lucha de dos fuerzas antagรณnicas en las formas geomรฉtricas puras de sus esculturas. De alguna manera a travรฉs de la tensiรณn y la polaridad es capaz de lograr el equilibrio.
Blaszko es conocido por su trabajo como autor y como artista. Era bastante articulado en sus escritos y capaz de lograr una conciencia no sรณlo para su propio arte, sino tambiรฉn para el movimiento MADI. Falleciรณ en Buenos Aires en 2011.
Martin Blaszko (Martin Blazkowski) was born in Berlin in 1920. As his family was Jewish, they moved to Poland and then to France where he meet Marc Chagall. In 1939, he immigrated with his family to Buenos Aires.
He began his academic formation in Europe with Jankel Adler and Enrique Barczinski. In 1945, he met Carmelo Arden Quin, founder of the MADI group. “The clarity, the coldness and the strict execution of his work impressed me profoundly,” he declared. From then on, he would also be a member of the MADI movement.
In 1952, Blaszko was given an award by the Institute of Contemporary Art in London For his project “Monument to the Unknown Political Prisoner.” In 1958, he received the bronze medal from the International Fair in Brussels. He was recognized internationally as one of the most interesting and original sculptors of Argentina.
Blaszko is known for his work as a writer as well as an artist. He was very clear in his writing and capable of reaching an awareness not only for his own art, but also for the MADI movement. He died in Buenos Aires in 2011.
El arte se caracteriza por suprimir toda referencia a la realidad visible del mundo y eliminar todas las semejanzas con las formas naturales. Permite al hombre inventar objetos para luchar por una sociedad que libera la energรญa a domina el espacio y el tiempo en todos los sentidos.
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The MADI Movement in Art
Art is characterized by suppressing all reference to the visible reality of the world and eliminating similarities with natural forms. It allows man to invent objects that fight for a society that liberates the energy that dominates space and time in all its meanings.
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Obras/Works
Pintura Madi,ย Ritmos dinรกmicos, 1947 รleo Altura 50 cm.
Plano Azul, 1951 รleo sobre tela 50×80 cm.
Armonรญa en Verdes, 1947 รleo sobre tela 55 x 90 cm.
Pared Madi,ย 1990 Bronce 60 x 49 x 13 cm.
Proyecto para el Monumento al Prisionero Polรญtico Desconocido” 1952, Aluminio, 110 x 66 x 48 cm
Contrincantes en eterna lucha, 2005 Madera pintada 49 x 27 x 26 cm.
Homenaje al Dรญa Internacional de la Paz, 1986. Parque Centenario de Bs As Aluminio Pintado Altura 200 cm.
“Constelaciรณn cรณsmica, 1993 Aluminio pintado 70 x 34 cm.
La Fuerza, 1955 Madera 26 x 43 x 10 cm.
La Protesta, 1966 Bronce 20 x 23 x 24,5
Bipolaridades en el contexto urbano, 2005 Aluminio pintado 75 x 41,5 x 35 cm.
Nostalgia Madรญ, 2004 รleo sobre hardboard 49 x 34,5 cm.
Roberto Aizenberg naciรณ en Federal, Entre Rรญos, Argentina en 1928, hijo de inmigrantes judรญos. A la edad de ocho aรฑos, la familia de Aizenberg se mudรณ a La Paternal, barrio de Buenos Aires. Roberto Aizenberg recibiรณ su educaciรณn secundaria en el Colegio Nacional de Buenos Aires. Mรกs tarde, Aizenberg estudiรณ pintura bajo la direcciรณn de Antonio Berni. Entre 1950 y 1953 fue alumno del surrealista Juan Batlle Planas, un pintor argentino que destacรณ la importancia del surrealismo y el psicoanรกlisis. En 1958, la primera exposiciรณn individual de Aizenberg tuvo lugar en la Galerรญa Galatea. Uma retrospectiva principal de su obra tuvo lugar en el Instituto Torcuato di Tella en 1969. Esta exposiciรณn consistiรณ en esculturas, collages, 50 pinturas y 200 dibujos. Ademรกs, sus obras se incluyeron en varias exposiciones colectivas, como la Bienal de Sรฃo Paulo en 1963. La primera exposiciรณn europea de Roberto Aizenberg se organizรณ en la Galerรญa Hanover de Londres en 1972. En 1973 presentรณ sus obras de arte en Gimpel y en la Galerรญa Hanover en Zรบrich, Suiza. . La pasiรณn de Aizenberg por la arquitectura del Renacimiento influyรณ vรญvidamente en sus obras. Muy a menudo representaba torres aisladas, ciudades vacรญas y edificios misteriosos.
Debido a la dictadura en Argentina, Aizenberg emigrรณ a Parรญs en 1977, y en 1981 se mudรณ a Tarquinia, Italia. En 1982 participรณ en la exposiciรณn celebrada en la Galerรญa Naviglio de Milรกn. El artista regresรณ a la Argentina en 1985. Ademรกs de su carrera artรญstica, trabajรณ como profesor. Desde 1985 y 1986 y nuevamente en 1993, Roberto Aizenberg enseรฑรณ pintura en la Universidad Nacional de las Artes. En 1986 comenzรณ a realizar un seminario para la comunidad judรญa. Roberto Aizenberg muriรณ inesperadamente en Buenos Aires en 1996, mientras preparaba una retrospectiva de su trabajo en el Museo Nacional de Bellas Artes. Aizenberg se casรณ con Matilde Herrera, periodista y escritora del semanario Primera Plana. Ella tuvo tres hijos de un matrimonio anterior, Valeria, Josรฉ y Martรญn Belรกustegui. Despuรฉs del golpe militar, en 1976 y 1977, los tres hijos y sus esposas fueron desaparecidos.
R0berto Aizenberg was born in Federal, Entre Rios province in 1928. At the age of eight, Aizenberg’s family moved to La Paternal, a Buenos Aires neighborhood.ย Roberto Aizenberg received his secondary education at the Colegio Nacional de Buenos Aires. Later Aizenberg studied painting under the guidance of Antonio Berni. Between 1950 and 1953 he was a student of the surrealist Juan Batlle Planas, an Argentine painter who underlined the importance of surrealism and psychoanalysis.
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ย In 1958 Aizenberg’s first solo exhibition took place at the Galerรญa Galatea. The Torcuato di Tella Institute presented a major retrospective in 1969. This exhibition consisted of sculptures, collages, 50 paintings, and 200 drawings. In addition, his works were included in various group exhibitions, such as the Sรฃo Paulo Bienal in 1963. Roberto Aizenberg’s first European exposure was organized at London’s Hanover Gallery in 1972. In 1973,ย he had exhibitions at Gimpel and Hanover Gallery in Zรผrich, Switzerland. Aizenberg’s passion for the architecture of the Renaissance vividly influenced his works. Quite often he depicted isolated towers, empty towns, and mysterious buildings.
Due to the dictatorship in Argentina, Aizenberg migrated to Paris in 1977, and in 1981 moved to Tarquinia, Italy. In 1982 he participated in the exhibition held at Milan’s Naviglio Gallery. The artist moved back to Argentina in 1985. Besides his artistic career, he worked as a professor. From 1985 and 1986 and again in 1993, Roberto Aizenberg taught painting at the Universidad Nacional de las Artes. In 1986, he started to holdย seminars for the Jewish Community. Roberto Aizenberg unexpectedly died in Buenos Aires in 1996, while preparing a retrospective of his work at the National Museum of Fine Arts. Aizenberg married Matilde Herrera, a journalist and writer of the weekly Primera Plana. She had three children from a prior marriage, Valeria, Josรฉ and Martรญn Belรกustegui. After the military coup that occurred in 1976 and 1977, the three children and their spouses were disappeared.
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Elย surrealismoย oย superrealismoย es un concepto que proviene del francรฉsย surrรฉalisme. Se trata de unย movimiento literario y artรญstico que busca trascender lo real a partir del impulso psรญquico de lo imaginario y lo irracional.
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Surrealism or super-realism is a concept that comes from the French surrรฉalisme. It is a literary and artistic movement that seeks to transcend the real from the psychic impulse of the imaginary and the irrational.
“El arte estรก firmemente arraigado en los valores espirituales. El creador estรก involucrado en un proceso continuo de descubrimiento, no de sรญ mismo, sino de las raรญces del universo que ha podido descubrir dentro de sรญ mismo”. –ย Gego
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GEGO (Gertrude Luise Goldschmidt) naciรณ en Hamburgo, Alemania, en 1912 y muriรณ en Caracas in 1994. Como jovencita, Gego trabajรณ como dibujante en varias empresas de arquitectura, talleres de pintura y carpinterรญa en su natal Alemania, mientras completaba una licenciatura. en arquitectura de la Universidad de Stuttgart en 1938. Para escapar del creciente antisemitismo en su paรญs de origen, emigrรณ a Venezuela en 1939, donde trabajรณ como arquitecta independiente y diseรฑadora industrial. En 1953, se mudรณ a la ciudad costera de Tarma y comenzรณ su trabajo artรญstico, produciendo dibujos, acuarelas, monotipos y xilografรญas; La mayorรญa de estas primeras obras fueron figurativas y expresionistas. Regresรณ a Caracas en 1956 y allรญ, utilizando la abstracciรณn pura como punto de partida, comenzรณ a abordar los problemas del espacio escultรณrico en su trabajo; En 1957, junto a los artistas Carlos Cruz-Diez, Alejandro Otero y Jesรบs-Rafael Soto, Gego participรณ en la exposiciรณn Arte abstracto en Venezuela. En 1959, el Museo de Arte Moderno de Nueva York habรญa comenzado a adquirir su obra; se mudรณ a Nueva York en 1960 y permaneciรณ en los Estados Unidos hasta 1967. Gego enseรฑรณ en la escuela de arquitectura de la Universidad Central de Venezuela y en la Escuela de Artes Plรกsticas Cristรณbal Rojas. Su primera exposiciรณn individual se llevรณ a cabo en el Museo de Bellas Artes de Caracas en 1961; En 1962, instalรณ una escultura en la sede del Banco Industrial de Venezuela. Ayudรณ a fundar el Instituto de Diseรฑo Neumann en Caracas, donde enseรฑรณ desde 1964 hasta 1977. Desde la dรฉcada de 1970 hasta la dรฉcada de 1980 completรณ una importante escultura arquitectรณnica integrada para edificios pรบblicos, residencias y centros comerciales. En 1972, por ejemplo, construyรณ Cuerdas (cuerdas), una instalaciรณn de esculturas que consiste en tiras de nylon y acero inoxidable suspendidas, para el complejo arquitectรณnico Parque Central en Caracas. Gego finalmente comenzรณ a utilizar procedimientos aleatorios y materiales “pobres”, como desechos industriales y metales.
Su serie de esculturas suspendida Dibujos sin papelย y su serie Bichos (Criaturas) tambiรฉn datan de la dรฉcada de 1980, al igual que su Reticulรกrea ambiental.
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“Art is firmly rooted in spiritual values. The creator is involved in a continuous process of discoveryโnot of himself, but of the roots of the universe which he has been able to discover within himself.โย –ย Gego
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GEGO (Gertrude Luise Goldschmidt) was born in Hamburg, Germany in 1912 and died in Caracas in 1994, As a young woman, Gego worked as a draftsman in several architecture firms, painting workshops, and carpentry shops in her native Germany while completing a degree in architecture from the University of Stuttgart in 1938. To escape the increasing anti-Semitism in her home country, she emigrated to Venezuela in 1939, where she worked as a freelance architect and industrial designer. In 1953, she moved to the coastal town of Tarma and began her artistic work, producing drawings, watercolors, monotypes and xylographs; the majority of these early works were figurative and expressionist. She returned to Caracas in 1956, and there, using pure abstraction as her starting point, she began to address problems of sculptural space in her work; in 1957, along with artists Carlos Cruz-Diez, Alejandro Otero, and Jesรบs-Rafael Soto, Gego participated in the exhibition Arte abstracto en Venezuela. By 1959, the Museum of Modern Art in New York had begun to acquire her work; she moved to New York in 1960 and remained in the United States until 1967. Gego taught at the school of architecture of the Universidad Central de Venezuela and at the Escuela de Artes Plรกsticas Cristรณbal Rojas. Her first individual show was held at the Museo de Bellas Artes in Caracas in 1961; in 1962, she installed a sculpture at the headquarters of the Banco Industrial de Venezuela. She helped found the Instituto de Diseรฑo Neumann in Caracas where she taught from 1964 to 1977.ย From the 1970s to the 1980s she completed important, architecturally integrated sculpture for public buildings, residences, and shopping malls. In 1972, for example, she constructed Cuerdas (Cords), a sculpture installation consisting of suspended nylon and stainless steel strips, for the Parque Central architectonic complex in Caracas. Gego eventually began to use random procedures and โpoorโ materials such as industrial scraps and metals. Her series of suspended sculptures Dibujos sin papel (Drawings without Paper) and her series Bichos (Creatures) also date from the 1980s, as does her Reticulรกrea ambiental. ________________________________________________________________Obras de Gego/Works by Gego
Las obras de Gego se encuentran en colecciones importantes, incluida la Colecciรณn Cisneros, Caracas, Venezuela; Colecciรณn Daros Latinamerica, Zรบrich; Museo de Arte Contemporรกneo de Caracas, Museo de Arte Contemporรกneo Francisco Narvรกez, Porlamar, Venezuela; Museo de Arte Moderno Jesรบs Soto, Ciudad Bolรญvar; Museo de Bellas Artes, Caracas; Biblioteca Pรบblica de Nueva York, Nueva York; Pratt Graphic Art Center, Nueva York; Museo de Bellas Artes, Houston (MFAH), el Museo de Arte Moderno (MoMA), Nueva York y la Universidad de Texas en Austin.Caracas en 1994.
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Gegoโs works are found in major collections including Cisneros Collection, Caracas, Venezuela; Daros Latinamerica Collection, Zรผrich; Museo de Arte Contemporรกneo de Caracas, Museo de Arte Contemporรกneo Francisco Narvรกez, Porlamar, Venezuela; Museo de Arte Moderno Jesรบs Soto, Ciudad Bolรญvar; Museo de Bellas Artes, Caracas; New York Public Library, New York; Pratt Graphic Art Center, New York; The Museum of Fine Arts, Houston (MFAH); The Museum of Modern Art (MoMA), New York,ย and The University of Texas at Austin.
Frans Krajcberg (Kozienice, Polรดnia, 1921 – Rio de Janeiro, 2017). Escultor, pintor, gravador e fotรณgrafo. Autor de obras que tรชm como principal caracterรญstica a exploraรงรฃo de elementos da natureza, destaca-se por seu ativismo ecolรณgico, que associa arte e defesa do meio ambiente. Nascido na Polรดnia, Krajcberg forma-se em engenharia e artes pela Universidade de Leningrado. Mais tarde, ao mudar-se para a Alemanha, ingressa na Academia de Belas Artes de Stuttgart, onde se torna aluno do pintor alemรฃo Willi Baumeister (1889-1955). Sua carreira artรญstica se inicia no Brasil, para onde migra em 1948, procurando reconstruir sua vida depois de perder toda a famรญlia em um campo de concentraรงรฃo durante a Segunda Guerra Mundial. Reside um curto perรญodo no Paranรก (isolando-se na floresta para pintar).ย Muda-se para o Rio de Janeiro em 1956 e naturaliza-se brasileiro no ano seguinte. Ele retorna a Paris em 1958, onde permanece atรฉ 1964. De volta ao Brasil, em 1964, instala um ateliรช em Cata Branca, Minas Gerais. A partir desse momento ocorre em sua obra a explosรฃo no uso da cor e do prรณprio espaรงo. Comeรงa a criar as “sombras recortadas”, nas quais associa cipรณs e raรญzes a madeiras recortadas. Em 1972, passa a residir em Nova Viรงosa, no litoral sul da Bahia. Amplia o trabalho com escultura, iniciado em Minas Gerais. Intervรฉm em troncos e raรญzes, entendendo-os como desenhos no espaรงo. Essas esculturas fixam-se firmemente no solo ou buscam libertar-se, direcionando-se para o alto. A partir de 1978, atua como ecologista, luta que assume carรกter de denรบncia em seus trabalhos: “Com minha obra, exprimo a consciรชncia revoltada do planeta”. Krajcberg viaja constantemente para a Amazรดnia e Mato Grosso, e registra por meio da fotografia os desmatamentos e queimadas em imagens dramรกticas. Dessas viagens, retorna com troncos e raรญzes calcinados, que utiliza em suas esculturas. Na dรฉcada de 1980 realiza a sรฉrieย Africana, utilizando raรญzes, cipรณs e caules de palmeiras associados a pigmentos minerais.
Frans Krajcberg (Kozienice, Poland, 1921 – Rio de Janeiro, 2017). Sculptor, painter, engraver and photographer. The main characteristic of his work is the exploration of of nature. He is known for his ecological activism, that associates art and defense of the environment. Born in Poland, Krajcberg graduated in engineering and arts from the University of Leningrad. Later, when moving to Germany, he entered the Academy of Fine Arts in Stuttgart, where he became pupil of the German painter Willi Baumeister (1889-1955). His artistic career began in Brazil, where he moved in 1948, seeking to rebuild his life after losing the entire family in a concentration camp during World War II.ย He lived for a short period in Paranรก (isolating in the forest to paint). He moved to Rio de Janeiro in 1956 and became a Brazilian citizen the following year. Heย returned to Paris in 1958, where he remained until 1964. Back in Brazil, in 1964, he set up an atelier in Cata Branca, Minas Gerais. From that moment on, his work explores the use of color and space itself. He begins to create the “cut up shadows,” in which he associates vines and roots with cut wood. In 1972, he moved to Nova Viรงosa, on the southern coast of Bahia. He expands his sculptural work, begun in Minas Gerais, with trunks and roots, understanding them as drawings in space. These sculptures hold firmly to the ground or seek to liberate themselves, heading upwards. From 1978 on, he acts as an ecologist, a struggle that he denounces: “With my work, I express the revolted conscience of the planet.” Krajcberg traveled constantly to the Amazon and Mato Grosso, and recordedย photographically dramatic images of deforestation by burning. From these trips, he returned with trunks and calcined roots, which he used in his sculptures. In the 1980s, he created the Africana series, using roots, lianas and stalks of palm trees associated with mineral pigment.
ย ย ย ย ย Ana Wien naciรณย en Costa Rica.ย Estudiรณ pintura y grabado en la Universidad de Costa Rica, Facultad de Bellas Artes. Comenzรณ su carrera artรญstica en el aรฑo 1970 definiendo su estilo a travรฉs de los aรฑos, en los talleres de los afamados maestros de la plรกstica costarricense Manuel de la Cruz Gonzรกlez Lujรกn, Francisco Amighetti y Rafa Fernรกndez. Ha realizado mรกs de 70 exposiciones individuales y colectivas en Costa Rica, Estados Unidos y Europa; entre ellos, Parรญs, Barcelona y Copenhagen. Como integrante de la asociaciรณn de artistas franceses, โArtists and Lifeโ, ha participado en tres muestras grupales con fines benรฉficos en Toit de lโArche de la Dรฉfense y Espace Art et Libertรฉ en Paris. Ha sido elegida para participar, en sus dos รบltimas versiones consecutivas, en la Bienal โLatin Viewsโ que se lleva a cabo en la Galerรญa Alexey von Schlippe de la Universidad de Connecticut, Estados Unidos. Sus obras se encuentran en diversas colecciones privadas en Amรฉrica y Europa.
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ย ย ย ย ย Ana Wien was born in Costa Rica. She studied painting and engraving at the University of Costa Rica, Faculty of Fine Arts. She began her artistic career in 1970 defining her style over the years, in the workshops of the famous masters of Costa Rican plastic arts Manuel de la Cruz Gonzรกlez Lujรกn, Francisco Amighetti and Rafa Fernรกndez. She has made more than 70 solo and group exhibitions in Costa Rica, the United States and Europe; among them, in Paris, Barcelona and Copenhagen. As a member of the association of French artists, “Artists and Life”, she has participated in three group shows for charity in Toit de l’Arche de la Dรฉfense and Espace Art et Libertรฉ in Paris. She has been chosen to participate, in its last two consecutive events, in the Biennial “Latin Views” that takes place in the Alexey von Schlippe Gallery of the University of Connecticut,ย Her works are in various private collections in America and Europe.
Ana Wien es creadora de figuras llenas de vibrantes colores y texturas innovadoras en las cuales lo fantรกstico y lo realista son combinados en su propio mundo imaginativo. Sus elementos dinรกmicos y sus formas libres son mezclados en una danza mรกgica de luz, color, intenso movimiento y energรญa positiva.
____________________________________
Ana Wien is the creator of figures full of vibrant colors and innovative textures in which the fantastic and the realistic are combined in their own imaginative world. Her dynamic elements and free forms are mixed in a magical dance of light, color, intense movement and positive energy.
190 sobrevivientes de la Shoรก encontraron un hogar nuevo en Costa Rica. En “Renacer”. Ana Wien les rinde homenaje: “En honor a todos ellos que en este paรญs bendito encontramos refugio y la oportunidad de formar nuestras familias en un ambiente de paz y de libertad”.
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190 Holocaust survivors found a new home in Costa Rica. In “To Be Born Once More,” Ana Wien pays them homage: “In honor of all those who in this blessed country, we found refuge and the opportunity to form our families in an atmosphere of peace and liberty.”
Exhibiciรณn de “Renacer” en Sinagoga Shaarei Tzion, San Josรฉ, Costa Rica/Exhibition of “To be Born Once More” at Shaharei Zion Synagogue, San Josรฉ, Costa Rica
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“Renacer — Los padres de la artista”/”To be Born Once More – The Parents of the Artist”
“Tesoros vivientes”/”Living Treasures”
“Luz de libertad”/”Light of Libertad”
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CURRICULUM — ANA WIEN
EXHIBICIONES INDIVIDUALES
2017ย Paradiso, Haussmark & Blow Art Gallery, Escazรบ, San Josรฉ, Costa Rica.
2017ย Sala VIP, Aeropuerto Internacional Juan Santamarรญa, Alajuela, Costa Rica.
2009ย VIP Lounge, Aeropuerto Internacional Juan Santamarรญa, Alajuela, Costa Rica.
2009ย Restaurante Nuevo Latino, Los Sueรฑos Marriott Ocean & Golf Resort, Herradura, Puntarenas, Costa Rica.
2008ย Restaurante Nuevo Latino, Los Sueรฑos Marriott Ocean & Golf Resort, Herradura, Puntarenas, Costa Rica.
2008ย Galerรญa DeJair, San Josรฉ, Costa Rica.
2007ย Restaurante Nuevo Latino, Los Sueรฑos Marriott Ocean & Golf Resort, Herradura, Puntarenas, Costa Rica.
2007ย Los Sueรฑos Marriott Ocean & Golf Resort, Herradura, Puntarenas, Costa Rica.
2007ย Restaurante Sebastiรกn, Escazรบ, Costa Rica..
2006ย Bacchus, Santa Ana, Costa Rica.
2006ย Los Sueรฑos Marriott Ocean & Golf Resort, Herradura, Puntarenas, Costa Rica.
2006ย Festival de Arte Urbano, Plaza de las Artes, San Josรฉ, Costa Rica.
2006ย Expoarte 2006, San Josรฉ, Costa Rica.
2006ย Festival Internacional de las Artes, FIA 2006, San Josรฉ, Costa Rica.
2006ย VIP Lounge, Aeropuerto Internacional Juan Santamarรญa, Alajuela, Costa Rica.
2005ย Costa Rica Country Club, San Josรฉ, Costa Rica.
2005ย Hotel Docelunas, Jacรณ, Costa Rica.
2003ย Galerรญa Artmax, San Josรฉ, Costa Rica.
2001ย Galerรญa Artmax, San Josรฉ, Costa Rica.
1986ย Alianza Francesa, San Josรฉ, Costa Rica
1982ย Alianza Francesa, San Josรฉ, Costa Rica.
1980ย Museo Nacional, San Josรฉ, Costa Rica.
1979ย Museo Nacional, San Josรฉ, Costa Rica.
EXPOSICIONES COLECTIVAS
2018ย World Art en Academia โ4Art Lilleโ, Grand Palace Lille, Francia.
2018ย โExposiciรณn Derechos Humanosโ, ACAV, Galerรญa Talentum, San Josรฉ, Costa Rica.
2018ย ย โAmazonas Luchando por la Vidaโ, Subasta Naranja a Beneficio de Proyecto Daniel, Galerรญa Nacional, San Josรฉ, Costa Rica.
2018ย ย โSumatorioโ, IV Salรณn Anual de ACAV, Museo Histรณrico Juan Santamarรญa, Alajuela, Costa Rica.
2017 โTocando Corazonesโ, Fundaciรณn Funicor, exposiciรณn itinerante, San Josรฉ, Costa Rica.
2017ย Tercer Salรณn Anual ACAV, Museo Municipal de Cartago, Cartago, Costa Rica.
2016ย โVaivรฉn Arte Convergenteโ, Galerรญa del Colegio Dominicano de Artistas Plรกsticos, Santo Domingo, Repรบblica Dominicana.
2016ย โArte en Mayoโ, Fundaciรณn Rozas Boltrรกn, Guatemala, Guatemala.
2015ย โCada Cabeza es un Mundoโ, Galerรญa Nacional, Museo de los Niรฑos, San Josรฉ, Costa Rica.
2015 โPercepciรณn y/o Realidadโ, II Salรณn Anual de Artes Visuales, ACAV, Galerรญa Nacional, San Josรฉ, Costa Rica.
2015 โWonder Woman Art Bra, Tradition & Innovationโ, Riga 2015, 5th Riga International Testile and Fibre Art Triennial, Riga, Letonia.
2015 โDerechos Humanosโ, ACAV, Corte Suprema de Justicia, San Josรฉ, Costa Rica.
2015 โDรญa Mundial del Arteโ, Plaza Tempo, San Josรฉ, Costa Rica.
2014 โLatin Network for the Visual Artsโ, Latin Views 2014,ย Biennial Exhibit, Alexey von Schlippe Gallery of Art, University of Connecticut at Avery Point, CT, Estados Unidos.
2014 โDerechos Humanosโ, ACAV/Instituto Interamericano de Derechos Humanos, Tribunal Supremo de Elecciones, San Josรฉ, Costa Rica.
2014 โCosta Rica-Puente Verdeโ, Galerรญa Nacional, Sala VII, San Josรฉ, Costa Rica.
2014 โLibroArteโ, Feria del Libro 2014, San Josรฉ, Costa Rica.
2014ย Salรณn Anual, ACAV, Casa del Cuรฑo, San Josรฉ, Costa Rica.
2014 โLa palabra integrada al libro Arteโ, ACAV, Sala Paraninfo-UNED, San Josรฉ, Costa Rica.
2014ย Conservatorio Libro-Arte, Biblioteca Mark Twain, Centro Cultural Costarricense Norteamericano, San Josรฉ, Costa Rica.
2014 โRizomasโ, Exposiciรณn en pequeรฑo formato, ACAV, Casa del Artista, San Josรฉ, Costa Rica.
2013ย โCosta Rica, Pont Vertโ, ACAV, Pavillon Charles X, Saint-Cyr-sur-Loire, Francia.
2013ย Memoria Pertinente, Embajada de Costa Rica, Managua, Nicaragua.
2013ย Vida en el Arrecife, Banco de Costa Rica, Puntarenas, Costa Rica.
2013ย Nostalgias y Vivencias, Galerรญa Talentum, San Josรฉ, Costa Rica.
2013ย Nostalgias y Vivencias, Casa Cultural Barrio Amon, San Josรฉ, Costa Rica.
2013ย Rizonas, Casa del Artista, San Josรฉ, Costa Rica.
2013ย Encuentro Acav Fia, Casa del Cuรฑo, San Josรฉ, Costa Rica
2013ย Derechos Humanos, ACAV, Tribunal Supremo de Elecciones, San Josรฉ, Costa Rica.
2013ย Colecciรณn Grano de Oro de Sintercafรฉ, Centro Cultural e Histรณrico Josรฉ Figueres Ferrer, San Ramรณn, Costa Rica.
2012ย Latin Network for the Visual Arts, Latin Views 2012 Biennial Exhibit, Alexey von Schlippe Gallery of Art, University of Connecticut, Avery Point, CT, Estados Unidos.
2012ย Un Sostรฉn para la Vida, AG Textil Lucha Contra el Cรกncer de Mama, San Josรฉ, Costa Rica.
2012ย Sintercafรฉ XXVI, Grano de Oro, Hotel Real Intercontinental, San Josรฉ, Costa Rica.
2012ย Colectivo Abierto de Pintura, Casa del Cuรฑo, Antigua Aduana, San Josรฉ, Costa Rica.
2012ย El Jardรญn de los Refranes, Esculturas Rodantes, Museo de San Ramรณn, Alajuela, Costa Rica.
2012ย El Arte de la Paz, Galerรญa Nacional, San Josรฉ, Costa Rica.
2012ย El Jardรญn de los Refranes, Esculturas Rodantes, Museo Juan Santamarรญa, Alajuela, Costa Rica.
2012ย Redes, Primer Encuentro Internacional ACAV FIA, San Josรฉ 2012, Casa del Cuรฑo,Antigua Aduana, San Josรฉ, Costa Rica.
2012ย El Jardรญn de los Refranes, Esculturas Rodantes, Festival Internacional de Arte, San Josรฉ, Costa Rica.
2011ย Barrio Amรณn, Nostalgias y Vivencias, Instituto Tecnolรณgico de Costa Rica, San Josรฉ, Costa Rica.
2011ย BCR-ARTE,ย Galerรญa Siegried Schosinsky, Banco de Costa Rica, San Josรฉ, Costa Rica.
2011ย Lajas por Lajas, Asociaciรณn Costarricense de Artistas Visuales, Costa Rica Country Club, San Josรฉ, Costa Rica.
2010ย Arte en Piel en Mov imiento, Colecciรณn Diario Vivir, Diseรฑo 10, Antigua Aduana, San Josรฉ, Costa Rica.
2010ย Latin Network for the Visual Arts, Latin Views 2010 Biennial Exhibit, Alexey von Schlippe Gallery of Art, University of Connecticut, Avery Point, CT, Estados Unidos.
2010ย Cruces de Vรญas, Artista invitada, Casa de la Cultura, Puntarenas, Costa Rica.
2010ย Concasida VI, San Josรฉ, Costa Rica.
2009ย Tributo a Osa, Galerรญa Nacional, San Josรฉ, Costa Rica
2009ย Rupestre 2009, Instituto de Mรฉxico, San Josรฉ, Costa Rica.
2009ย Rupestre 2009, Hotel Corteza Amarilla, San Josรฉ, Costa Rica.
2009ย Viva el Arte, Plaza del Sol, San Josรฉ, Costa Rica.
2009ย Crisis, Arte, Inversiรณnโ, Galerรญa Carlow & Co, San Josรฉ, Costa Rica
2008ย Artists and Life, Espace Art et Libertรฉ, Paris, Francia.
2008ย Cow Parade, San Josรฉ, Costa Rica.
2008ย Sintercafรฉ XXII, Grano de Oro, Hotel Real Intercontinental, San Josรฉ, Costa Rica.
2008ย 200 aรฑos de Cafรฉ de Costa Rica, Museo Nacional, San Josรฉ, Costa Rica.
2008ย El Jardรญn de las Delicias, Universidad Nacional, Heredia, Costa Rica.
2008ย Miradas Sutiles, Arte en Tercera Dimensiรณn, Centro Cultural Costarricense Norteamericano, San Josรฉ, Costa Rica.
2008ย Festival Artรญstico, Casa de la Cultura, San Antonio de Belรฉn, Costa Rica.
2008ย โArcoirisโ, Galerรญa Carlow & Co, San Josรฉ, Costa Rica.
2008ย El Jardรญn de las Delicias, Centro Cultural Casa Azul, Heredia, Costa Rica.
2008ย Festival de Arte โIdentidadโ, Galerรญa Carlow & Co, Reserva Conchal, Guanacaste, Costa Rica. 2008ย XIII Festival de Arte, San Josรฉ, Costa Rica.
2008ย El Jardรญn de la Delicias, Festival Internacional de las Artes, San Josรฉ, Costa Rica.
2008ย Expresiรณn Humana del Desnudo, Casa de la Cultura, Heredia, Costa Rica.
2008ย Arte por Amor, Galerรญa Carlow & Co, San Josรฉ, Costa Rica.
2007ย โNavidadโ, Arte y Trรญo de Flautas Mรกgicas de la Sinfรณnica, Galerรญa Carlow & Co, San Josรฉ, Costa Rica
2007ย Sintercafรฉ XXI, Grano de Oro, Hotel Real Intercontinental, San Josรฉ, Costa Rica.
2007ย El Jardรญn de las Delicias, Galerรญa Grรกfica Gรฉnesis, San Josรฉ, Costa Rica.
2007ย Siรฉntase BienโฆAyude a un Niรฑo, Galerรญa Klaus Steinmetz, Escazรบ, Costa Rica.
2007ย Pintura en Vivo en la Montaรฑa 2007, Fraijanes, Alajuela, Costa Rica.
2007ย II Encuentro de Pintores, Plaza del Sol, San Josรฉ, Costa Rica.
2007ย Galerรญa Internacional El Refugio de los Artistas, Alajuela, Costa Rica.
2007ย XII Festival de Arte, San Josรฉ, Costa Rica
2006ย III Trienal Internacional del Tile Cerรกmico, Museo de Arte Moderno, Santo Domingo, Repรบblica Dominicana.
2006ย Artists & Life, Toit de lโArche de la Dรฉfense, Paris, Francia.
2006ย Artists & Life, Galerie Figure, Paris, Francia.
2006ย California International Art Show, Latino Art Museum, Pomona, California, E.E.U.U.
2006ย International Summer Exhibition, Museum of the Americas, Doral, Florida, E.E.U.U.
2006ย XI Festival de Arte, San Josรฉ, Costa Rica
2006ย Sintercafรฉ XX, Grano de Oro, Hotel Real Intercontinental, San Josรฉ, Costa Rica.
2005ย Dรฉcimo Festival de Arte, San Josรฉ, Costa Rica.
2005ย Latinoamรฉrica Contemporรกnea 2005, Hotel Marriott, San Josรฉ, Costa Rica.
2005ย Sintercafรฉ XIX, Grano de Oro, Hotel Herradura, San Josรฉ, Costa Rica.
2005ย Barcelona โ05, Crisolart Galleries, Barcelona, Espaรฑa.
2005ย Semillas de Esperanza, Hotel Barcelรณ San Josรฉ Palacio, San Josรฉ, Costa Rica.
2005ย International Artists in Copenhagen, Crisolart Galleries, Copenhagen, Dinamarca.
2005ย Women in the Arts 2005, Museum of the Americas, Miami, E.E.U.U.
2005ย New York International Art Festival, NewYork, E.E.U.U.
2005ย III Ediciรณn Parque de la Expresiรณn, Museo de Arte Costarricense, San Josรฉ, Costa Rica.
2005ย Galerรญa Internacional El Refugio de los Artistas, Alajuela, Costa Rica.2005 Club Punta Leona, Puntarenas, Costa Rica.
2005ย Club Punta Leona, Puntarenas, Costa Rica
2004ย Hotel Costa Rica Marriott pro Beneficencia Hospital San Juan de Dios.
2003ย Sintercafรฉ XVII, Grano de Oro, Hotel Herradura, San Josรฉ, Costa Rica.
2003ย Sรฉtimo Festival de Arte, San Josรฉ, Costa Rica.
2002ย Sexto Festival de Arte, San Josรฉ, Costa Rica.
2002ย Sintercafรฉ XVI, Grano de Oro, Hotel Herradura, San Josรฉ, Costa Rica.
2002ย Quinto Festival de Arte, San Josรฉ, Costa Rica.
2001ย Sintercafรฉ XV, Grano de Oro, Hotel Herradura, San Josรฉ, Costa Rica.
2001ย Cuarto Festival de Arte, San Josรฉ, Costa Rica.
2000ย Exposiciรณn de Pintura y Escultura, Asociaciรณn ACAP, Hotel San Josรฉ Palacio.
2000ย Tercer Festival de Arte, San Josรฉ, Costa Rica.
2000ย Sintercafรฉ XIV, Grano de Oro, Hotel Herradura, San Josรฉ, Costa Rica.
1999ย Segundo Festival de Arte, San Josรฉ, Costa Rica.
1999ย Sintercafรฉ XIII, Grano de Oro, Hotel Herradura, San Josรฉ, Costa Rica.
1999ย Primer Festival de Arte, San Josรฉ, Costa Rica.
1998ย Casa Cultura Popular Josรฉ Figueres Ferrer, Banco Popular, San Josรฉ,Costa Rica.
1998ย Festival de Arte, Galerรญa Ulises, San Josรฉ, Costa Rica.
1998ย Sintercafรฉ XII, Grano de Oro, Hotel Herradura, San Josรฉ Costa Rica.
1998ย Certamen Israel 50, Galerรญa Nacional, Museo de Ciencia y Cultura, San Josรฉ, Costa Rica.
1998ย Exposiciรณn de Pintura y Escultura, Asociaciรณn ACAP, Hotel San Josรฉ Palacio, San Josรฉ, Costa Rica.
1997ย Sintercafรฉ XI, Grano de Oro, Hotel Herradura, San Josรฉ Costa Rica.
1996ย Sintercafรฉ X, Grano de Oro, Hotel Herradura, San Josรฉ, Costa Rica.
1995ย III Bienal Centro Israelita Sionista Costarricense, San Josรฉ, Costa Rica.
1993ย II Bienal Centro Israelita Sionista Costarricense, San Josรฉ, Costa Rica.
1993ย Subasta de Arte, Pro Beneficencia Unidad de Quemados, Hospital Nacional de Niรฑos, San Josรฉ, Costa Rica.
1991ย I Bienal Centro Israelita Sionista Costarricense, San Josรฉ, Costa Rica.
1984ย La Petite Galerie, Burdines, Miami, Florida, E.E.U.U.
1983ย Centro Cultural Costarricense Norteamericano, San Josรฉ, Costa Rica.
1982ย Instituto Costarricense de Electricidad, San Josรฉ, Costa Rica.
1982ย Octubre Cultural, Galerรญa Omni, San Josรฉ, Costa Rica.
1981ย Sala Expo 5, San Josรฉ, Costa Rica.
1981ย Colegio de Periodistas, San Josรฉ, Costa Rica.
1980ย The Meeting Point Gallery, Miami, Florida, E.E.U.U.
1980ย Galerรญa Contemporรกnea, San Josรฉ, Costa Rica.
1980ย Galerรญa Forma y Color, San Josรฉ, Costa Rica.
1973ย IV Salรณn Anual, Museo Nacional, San Josรฉ, Costa Rica.
1970ย Subasta de Arte Pro Beneficencia Unidad de Quemados, Hospital Nacional de Niรฑos, San Josรฉ, Costa Rica.
PREMIOS
2013ย Primera Menciรณn Honorรญfica, Certamen de Arte Grano de Oro, Sintercafรฉ XXV, San Josรฉ, Costa Rica.
2005ย Menciรณn de Honor, Women in the Arts 2005, Museum of the Americas, Miami, Florida, E.E.U.U.
2005ย Second Runner-up, New York International Art Festival, New York, E.E.U.U
1999ย Menciรณn de Honor, Certamen de Arte Grano de Oro, Sintercafรฉ XIII, San Josรฉ, Costa Rica.
1997ย Primer Lugar, Certamen de Arte Grano de Oro,ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย Sintercafรฉ XI, San Josรฉ, Costa Rica.
Nora Seilicovichย es artista visual, arquitecta y diseรฑadora. Nacida en la Ciudad de Buenos Aires, Argentina, ha realizado estudios de Arquitectura en la Universidad de Buenos Aires. Graduada en dibujo, pintura y grabado en los estudios de Aรญda Carballo; asรญ como en la Escuela Superior de Bellas Artes โPrilidiano Pueyrredรณnโ. Desde 1980 realiza numerosas exposiciones y muestras, tanto individuales como colectivas, en la Argentina como en el exterior. Varias de sus obras estรกn en manos de coleccionistas privados (Brasil, Uruguay, Chile, Espaรฑa). Desde el aรฑo 2015, ha incursionado en el Arte digital, desarrollando imรกgenes en estampas y de tipo animaciรณn, como cortos y en videoarte. Asรญ como como la realizaciรณn de los primeros cortos de animaciรณn que van adquiriendo notoriedad en Festivales Internacionales y estรกn nominados en varios de ellos.
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Nora Seilicovich is a visual artist, architect and graphic designer. Born in Buenos Aires, she has completed her studies in Architecture at the University of Buenos Aires. She is a graduate in drawing, painting and printing from the Studio of Aรญda Caballo, as well as the Escuela Superior de Bellas Artes โPrilidiano Pueyrredรณn.โ Since 1980, she has held numerous individual and group shows in Argentina and in other countries. Some of her work works belong to private collectors (Brazil, Uruguay, Chile, Spain.) Since 2015, she has entered the field ofย digital art, developing imagesย in print and in animations, short features and video-art. Her first animated short features and gaining renown in International Festivals and have been nominated for prizes in several of them.
Algunas de las exposiciones individuales y colectivas
Muestras individuales en Argentina y en el exterior
S2019 ( Abril) Muestra individual en Espacio Lezama Arte- CABA
โข 2018: (Abril) โAcuarelas. Nora Seilicovichโ .Taller Galerรญa Nora Seilicovich
โข 2017: (Diciembre) โTrabajos de Nora Seilicovichโ. Taller Galerรญa. Circuito de las Artes. Distrito abierto- La Boca, Buenos Aires.
โข 2017: (Abril) โTexturedโ. Consulado de Argentina de Nueva York, EEUU
(Marzo) โContextosโ. OEI Espacio cultural. Buenos Aires, Argentina..
โข 2016. Exposiciรณn Museo Judรญo de Buenos Aires
โข 2015: Muestra โ 5 DIBUJANTES en Galerรญa privada La Boca
โข 2014: โDibujosโ. Galerรญa Espinosa La Boca
โAcrรญlicos sobre telaโ. Galerรญa Arte y Parte โ San Telmo
โข 2011 Muestra individual Northestern University- Boston EEUU.
โข 2009: โPaintingโ. Consulado argentino en Nueva York.
โข 2008: Participaciรณn en las Feria de arte : Feria Arte Clรกsica
โข 2005: โAcuarelas y Acrรญlicosโ. Sociedad Central de arquitectos de Buenos Aires
โข 2004: โTramas y urdiembres de la Memoriaโ. Museo E. Sivori. Buenos Aires.
Muestras colectivas en Argentina y en el exterior
โข 2019-Muestra de artistas argentinos en New York Art Book Fair MoMA PS!
โข 2018 Muestra de artistas argentinos en New York Art Book Fair MoMA PS!
โข 2017: (Noviembre) Festival โEl Arte en la Boca de todosโ. Usina del Arte.
(Julio) Artistas argentinos en New York Art Book Fair. MoMA PS!
2016 / 2015 / 2014 Art Book Fair PS1 Mohma New York EEUU
โข 2015: (Octubre) โContextosโ. Galerรญa Servando Cabrera, La Habana – Cuba
โข 2015: Muestra de artistas argentinos en New York Art Book Fair
โข 2014:Participaciรณn en la muestra de artistas argentinos en New York Art Book Fair
โข 2011 Muestra con Stephen Sadow. Gallery Boston EEUU.
โข 2011 Muestra individual North Estern University- Boston EEUU.
Cortos de animaciรณn โ Videoarte
โParaibaโ โ work in progress
Baracoaโ โ Work in progress
โFlor de Amancaesโ (Videoarte) – 2017
Trรญptico. Arte y conexiรณnโ โ CC. Paco Urondo. Abril 2017
โTokusai y caminanteโ โ 2019 Nominado en el The 12th Month Film Festival 2019
Tres amigas en Istanbulโ – 2017
Nominado en: The 12th Month Film Festival. Corto de Animaciรณnde Junio 2018
The Americas Film Festival New YorK. NY Taffny 2019
The WORLD CINEMA MILAN November . December 2019
Ademรกs de las enumeradas anteriomente realiza mรบltiples exposiciones desde 1980.
Muchas de su obras forman parte de colecciones privadas en Argentina y en el exterior.
Nacรญ en Buenos Aires en 1950. Dibujo, pinto, hago grabados ย y objetos.
Estudiรฉ en atelieres dibujo y pintura desde niรฑo y mรกs tarde en la escuela nocturna nocturna. Paralelamente me recibรญ de maestro de educaciรณn elemental ย e ingresรฉ a la Universidad de Buenos Aires para estudiar Medicina y Psiquiatrรญa en la Universidad de Buenos Aires. Me especialicรฉ en Psicoanรกlisis. Incursionรฉ en la fotografรญa y a partir de 1988 retomรฉ el oficio de pintor lejos de lo โacadรฉmicoโย en los talleres de Silvia Brewda , Carlos Gorriarena, ย Jorge Meijide y Roberto Pรกez a lo largo de doce aรฑos. ย Gorriarena como pintor y Pรกez como dibujante con sus enseรฑanzas y crรญticas me impulsaron a un cambio de paradigma. Paralelamente aprendรญ ย grabado con Mirta Kupferminc ย y Andrea Juan. Participรฉ en los seminarios de crรญtica de Luis Felipe Noรฉย entre 2004 y 2009.
He tenido exhibiciones en galerรญas y museos enย Buenos Aires, Chicago, San Francisco, Montreal, Cusco, Montevideo, Paris, Luxembourg, Puerto Rico, and Mรฉxico D.F.ย Coleccionistas de arte deย Argentina, Estados Unidos, Canadรก, Francia, Italia y Luxemburgo.ย _
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Hugo Goldgel was born in Buenos Aires, Argentina, in 1950. He showed an early interest in drawing and painting, spending ย time in artistsโ studios up until his adolescence. After a break devoted to the study and practice of psychiatry and psychoanalysis at the University of Buenos Aires, and in which he also developed a passion for photography, in the late 1980s he returned to painting. Distancing himself from academic approaches, he solidified his skills in drawing and painting with Silvia Brewda and Jorge Meijide. He studied engraving with Mirta Kupferminc, continuing his studies with Andrea Juan. He credits Carlos Gorriarena and Roberto Pรกez for contributing to the dramatic weight he had been seeking for his work. In this way, he became committed to art as a philosophy and life practice. Through his critical workshops, Luis Felipe Noรฉ helped him to consolidate his accomplishments.
He has had exhibitions ย in art galleries and museums in Buenos Aires, Chicago, San Francisco, Montreal, Cusco, Montevideo, Paris, Luxembourg, Puerto Rico, and Mรฉxico DF. Art collectors from Argentina, the United States, Canadรก, France, Italy and Luxembourgย own his works.
Las imรกgenes me rondan y si puedo las capturo . Soy un cazador atento a su presa, ladrรณn de imรกgenes tanto internas como de las provenientes del ย mundo exterior. Esa captura incluye gestos como el de quedarme con jirones de un cartel callejero, recortar un fragmento interesante con el objetivo de mi cรกmara o simplemente guardarlas en mi memoria aprovechando luego la distorsiรณn inexorable del recuerdo.ย Asรญ es como afronto el proceso creativo dando pasos sucesivos que abren los imprevistos caminos, no excentos de accidentes, que dan lugar una metamorfosis con la intervenciรณn de las tรฉcnicas que hagan falta, digitales y manuales : lรกpiz, carbonilla, acrรญlico , รณleo, pastel. Sentimiento y razรณn en busca de un equilibrio justo antes de caer en el exceso o el abismo.
Opto por alejarme del ideal de perfecciรณn que conduce a lo siniestro. Apelo a la expresiรณn desenfadada para zafar de la opresiรณn cotidiana. Apuesto a la sinergia del encuentro, a la multiplicaciรณn de imaginarios junto al expectador….
Hugo Goldgel
ALL MY ROADS LEAD TO ROME
The images pursue me, and if I can, I capture them. I am a hunter attentive to his prey, thief of images as much internal as those coming from the external world. That capturing includes bits of a street poster that stay with me, catchingย an interesting fragment with the objectivity of my camera or simply keeping them in my head, then taking advantage of the inexorable distortion of memory. That is how I confront the creative process, taking successive steps that open unexpected paths, not exempt from accidents that give room for a metamorphosis, with the intervention of the techniques that are needed, be they digital or manualL pencil, charcoal, acrylics, oils, pastels. Feeling and reason in search of a just equilibrium before falling into excess or the abysm.
I opt to distance myself from from the ideal of perfection that leads to disaster. I appeal to the Uninhibited expression toย escape from everyday life. I bet on the synergy of the meeting, the multiplication of imaginaries together with the viewer.
ย ย ย ย ย ย ย ย ย ย ย ย ย โMade in ArgentineโArt People Gallery , ย San Francisco, USA including ย images of the American way of life.
2007 ย โIdentidad–Identityโexhibition, ย Jewish Museum of Buenos Aires, drawings, paintings an engravings.
2009 โLโUn et lโAutreโ inย GallerieCanal Pictures & Art, Paris France.With the active approvaland encouragement of the Argentine Ministry of Culture and Foreign Office.
2012โMacrรณpolisโ ย Espacio de Arte Mussetta,ย Buenosย Aire
Collective Exhibitions
1989 ย Pรฉrez Quesada Gallery
2001Centro Cultural Recoleta , Buenos Aires
2003Universidad de Belgrano, Alianza Francesa, Espacio 10 ArtGallery, Buenos Aires
2005 Centro Cultural Borgesy Casal de Catalunya, Buenos Aires
ย ย ย ย ย Engravingย Exhibition , Canadรก , Montreal, Galeria DโArt Diagonale, Centre desย Arts et des Fibres du Quebec.ย 2007
ย ย ย ย ย ย Galerรญa Forma de Buenos Aires
ย ย ย ย ย ย Museo de Arte Contemporรกneo, Cuzco, Perรบ.
2008 ย Exhibition โTerre A Tierra: Estampes/Grabadoโ through ย Espacio de Arte 17 Argentina ,ย Bruxelles, Montreal, ย Mรฉxico DF.
2010As a a representative of the ย Museo Nacional del Grabadoย of Argentine: ย Feria del Libro, Buenos Aires, Sala Borges and Galerรญa Original Mรบltiple. ย Then in Europe by thesupport of theArgentine Government, Foreign Office, ย Metz Market of Art,France and RED 03 Art GalleryofBarcelona .ย
ย ย ย ย ย Expo Luxembourg Gallerie BeimEngel del Ministry of Culture of Luxembourg.
# 2014 โBruxelles-Buenos Aires-Louxembourg, Lรutorrute du Sudโ , 5 artistes argentines dans lยดannรฉe de Cortรกzar. Louxembourg.
#2015 โAmor a la Patria Grandeโ, Salรณn Libertador Palacio San Martรญn, Ministerio de Relaciones Exteriores y Culto de Argentina, Buenos Aires.
#2016 Museo de la Mujer: Exhibition and presentation of the book with the drawings โGabriela Laperriere de Coni, de Burdeos a Buenos Aires.
ย ย ย ย ย ย ย ย ย ย ย โSpeed and other worksโ, Galerรฌa La Argentina, Buenos Aires
2010 “Identity and Diversity Artist’s Book”: โMothersโ, Teodoro Ducach poet- Hugo Goldgel painter. ย The book has been exhibited since 2011 atThe Jewish Museum ofย Buenos Airesย and atย universities in the United States,ย MรฉxicoD.F. and at the Argentine Consulate inNew York. It is now part of the collection of the University of Texas-Austin.
2013 Twenty original works for the book โLos Infernautasโ by Gustavo Abrevaya. Worksย of Hugo Goldgel exhibited atCentro Cultural Haroldo Conti, Ministry of Human Rights,ย Buenos Aires
2014โAngeles y demoniosen elAbastoโ ย Teatro La Carpinterรญa de Buenos Aires.
2015 โDiรกlogoโ Salaย Teatro La Carpinterรญa de Buenos Aires.
2017 โPasen y Veanโ, Cultura Municipio de La Paz, Cรณrdoba, Argentina
ย ย ย ย ย ย ย ย ย ย ย ย โJirones del Abastoโ- โShreds of Memoryโ, Centro Cultural de la Cooperaciรณn, Sala Vigo. Buenos Aires.
Caracas in 1994, As a young woman, Gego worked as a draftsman in several architecture firms, painting workshops, and carpentry shops in her native Germany while completing a degree in architecture from the University of Stuttgart in 1938. To escape the increasing anti-Semitism in her home country, she emigrated to Venezuela in 1939, where she worked as a freelance architect and industrial designer. In 1953, she moved to the coastal town of Tarma and began her artistic work, producing drawings, watercolors, monotypes and xylographs; the majority of these early works were figurative and expressionist. She returned to Caracas in 1956, and there, using pure abstraction as her starting point, she began to address problems of sculptural space in her work; in 1957, along with artists Carlos Cruz-Diez, Alejandro Otero, and Jesรบs-Rafael Soto, Gego participated in the exhibition Arte abstracto en Venezuela. By 1959, the Museum of Modern Art in New York had begun to acquire her work; she moved to New York in 1960 and remained in the United States until 1967. Gego taught at the school of architecture of the Universidad Central de Venezuela and at the Escuela de Artes Plรกsticas Cristรณbal Rojas. Her first individual show was held at the Museo de Bellas Artes in Caracas in 1961; in 1962, she installed a sculpture at the headquarters of the Banco Industrial de Venezuela. She helped found the Instituto de Diseรฑo Neumann in Caracas where she taught from 1964 to 1977.ย From the 1970s to the 1980s she completed important, architecturally integrated sculpture for public buildings, residences, and shopping malls. In 1972, for example, she constructed Cuerdas (Cords), a sculpture installation consisting of suspended nylon and stainless steel strips, for the Parque Central architectonic complex in Caracas. Gego eventually began to use random procedures and โpoorโ materials such as industrial scraps and metals. Her series of suspended sculptures Dibujos sin papel (Drawings without Paper) and her series Bichos (Creatures) also date from the 1980s, as does her Reticulรกrea ambiental. ________________________________________________________________
