Desembarco. Nueva York. 2016.

Carambia, Escudero, Portela, Romano, Ruiz.

 

“The future already exists” –The Garden of Forking Paths, Jorge Luis Borges


The May Revolution of 1810 led to a change of mindset for the people of Argentina and had its sequel six years later with the act of Independence. 2016 marks the Bicentenary of that act, which began the construction of a national identity.

Eduardo Schiaffino, argentine painter, founded the Encouragement of Fine Arts Society in 1876, which would later become the National Academy of Arts. He was also the creator of the National Museum of Fine Arts and was its director until 1910. But above all, he was the first cultural thinker of Argentina and proof of that was the endless debate he kept, through critical columns in the afternoon newspapers, with the then Spanish artist and critic A. Zul of Prussia.

While Schiaffino maintained that a policy that encourages the consolidation of an art identity was necessary, his Spanish colleague pointed out that art was what was happening in Europe. This led to a duel in December of 1891.

The press declared: “There will be art and art criticism in Buenos Aires when grapes fall from the sky. It’d be good if this case would not create impersonators. Painters shouldn’t take out blood with their brushes.”

Two hundred years have passed since this forming of a nation and its artistic identity has had spasmodical references. Some achieved fame and recognition, but there’s still a long way to go in the consolidation of an identity. Today, the main characters of the artistic field question through their works the construction of that identity.

Desembarco, intentionally diverse in disciplines, styles and academic backgrounds, presents personal stories so unique and different as each human being actually is.

Adriana Carambia works with the fragility of the support and challenges that so human and material difficulty in her work. Micaela Escudero, calls for the construction of a reality that combines the improvement and repair of the individual memory. Coincidentally, Cristina Portela works with the traumatic memories that devastate and invade the present. Daniel Romano rescues a cultural phenomenon that transverses us as a society beyond religious beliefs and his installation becomes a space for dialogue, prayer, meditation and reminiscence. Beatriz Ruiz is guided by the accidents presented by the paper and its texture achieved with fire.

We found similarities in the concerns of the Argentine artists, in the personal pursuits that are reflected in their works appealing to the media that in each case feels more like their own language. That makes them unique. That makes them one.

Desembarco is Argentina and the future that Schiaffino tirelessly built that now exists. This is contemplated in each of the works of the artists who work building their identity.

Adriana Carambia works with the fragility of the support and challenges that so human and material difficulty in her work. Micaela Escudero, calls for the construction of a reality that combines the improvement and repair of the individual memory. Coincidentally, Cristina Portela works with the traumatic memories that devastate and invade the present. Daniel Romano rescues a cultural phenomenon that transverses us as a society beyond religious beliefs and his installation becomes a space for dialogue, prayer, meditation and reminiscence. Beatriz Ruiz works her paper landscapes with fire evoking memories and visible and invisible scenes. We found similarities in the concerns of the Argentine artists, in the personal pursuits that are reflected in their works appealing to the media that in each case feels more like their own language. That makes them unique. That makes them one. –

Curator, Cecilia Medina

 

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Inauguración de HUNT en AIRE Arte Contemporáneo.

Gracias a todos por desafiar el frío y la lluvia y venir a la inauguración de HUNT.
La muestra continúa hasta el 25 de junio, de lunes a viernes de 14 a 19 y los sábados de 11 a 14 hs.
Los esperamos.

 

LAPRIDA 2920, LOMAS DE SAN ISIDRO, ARGENTINA

http://www.aire-galeria.com
http://www.danielromano.com.ar

 

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HUNT, en Galería Aire Arte Contemporáneo.

Este jueves 9 de junio los espero en la Galería AIRE ARTE CONTEMPORÁNEO. Presentaré HUNT, pinturas de mi último trabajo.

tarjeton muestra Daniel Romano ok
#HUNT #Hunting #art #illustration#drawing #draw #danielromano #picture #artist#sketch #sketchbook #paper #pen #pencil #artsy#instaart #beautiful #instagood #gallery#masterpiece #creative #photooftheday #instaartist#graphic #graphics #artoftheday #arte

 

HUNT. Surface games.

HUNT Daniel Romano paintings
HUNT Daniel Romano paintings

HUNT
DANIEL ROMANO
paintings

OPENING
WEDNESDAY, JULY 1, 2015.
6.00 – 8.00 pm.
RSVP: galleries@cnyor.com
Exhibition will be open to public through July 31.
Monday to Friday 11 am to 5 pm.

CONSULATE GENERAL OF ARGENTINA IN NEW YORK
12 West 56 Street , New York
Tel (1) 212 – 603-0400 – Fax (1) 212 – 541-7746

Curator text, by Federico Baeza

Surfaces Games

Masks are arrested expressions and admirable echoes of feeling, at once faithful, discreet, and superlative. Living things in contact with the air must acquire a cuticle, and it is not urged against cuticles that they are not hearts; yet some philosophers seem to be angry with images for not being things, and with words for not being feelings. Words and images are like shells, no less integral parts of nature than are the substances they cover, but better addressed to the eye and more open to observation.

George Santayana, Soliloquies in England and Later Soliloquies, 1922.

 

Figures dimly emerge from mist, a barely colored whiteness, so thick that it only allows us to recognize the presence of subtly outlined bodies on a background without horizons or apparent landforms. Insinuated silhouettes, elusive lines and tones. Surrounded by this dense atmosphere, we are examined by the frontal and symmetric presence of deer heads that overlap with these vaguely outlined human anatomies.

The grimace on these heads shows an impending threat; something is stalking them. As in TV documentaries about wild life in dense woods, arid steppes or green plains, the face of the deer seems to be frozen in the exact moment it detects the hunter. Its head turns violently, upright ears point at danger, its minute, dark and blank eyes sense us. On the surface of the painting, in this evening clarity suspended in time, the eyes of the deer are cracks, notches of unsaturated colors.

In the room you are going through, figures appear to be looking for each other; they observe and suspect each other; they are on guard. Alone, or in pairs, they look at each other. You may think that the face of the deer is a mask, and that the hunter´s imagination has imprinted that deer’s mask as a code for what he considers his prey.

At the end of the 1950s, Erving Goffman recalls that the original meaning of the word person is mask. The father of microsociology found this etymological origin very useful: in the little scenes of our relationships, in our wishes, in our hunting targets, we create roles, masquerades, surfaces games that we use to decode the enigma that the other represents and, at the same time, to create an image of ourselves.

In the clarity of the pictorial surface you are observing, the outline of the hunter does not appear. Maybe his territory is not permanent; this predator can be a floating place, some sort of mist that impregnates all the space in the room. A blurred hunter within the environment. These bodies can be predators and prey at the same time when they look at each other alternately. This is a game of reflections and transparencies, a land of attempts, between actions and predictions, steps forward and setbacks.

In the series Hunt, Daniel Romano wonders once again about a situation that has been keeping him awake for some time: the perimeter of our interpersonal relationships, the invisible threads that coordinate calculations and tactics within the winding limit of our closest bonds. Within these personal politics, there are surfaces games, mirrors where we, and the others, create a profile. Masks, skins, cuticles, arrested expressions and admirable echoes of feeling. In the image, in the painting, wishing appears. It is not urged against cuticles that they are not hearts.

Federico Baeza 


(Buenos Aires, Argentina, 1978) He is researcher, critic and teacher specializing in contemporary art. He graduated in arts and history and art theory at the Faculty of philosophy and letters by the University of Buenos Aires. He received doctoral scholarships awarded by the University of Buenos Aires and CONICET. It has developed research in the Centre for studies and documentation of the MACBA (Barcelona) around the heritage of the institution on Argentinian conceptual artists. More recently, he works in the field of arts management developing curatorships as the project of a retrospective of Argentine artists of the last ten years to cycles of talks scheduled from the area of University extension of IUNA and OSDE Foundation. It is currently director of extension and institutional linkage, Adjunct Professor of undergraduate and graduate in the area of criticism of Arts IUNA. He is co-author of three books on Visual and performing arts, publishes articles on contemporary art in journals, write catalogues of artists and regularly participates in conferences and other national and international meetings for a decade. It develops research and scripts for Encuentro channel about contemporary art.