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Art in Society
The Power of
Arte en la sociedad
El poder de la
IDB Cultural Center 20th Anniversary, 1992-2012
Art in Society
The Power of
Inter-American Development Bank
Luis Alberto Moreno
President
Julie T. Katzman
Executive Vice President
Roberto Vellutini
Vice President for Countries
Santiago Levy
Vice President for Sectors and Knowledge
Jaime Sujoy
Vice President for Finance and Administration
Steven J. Puig
Vice President for Private Sector and Non-Sovereign Guaranteed Operations
Office OF External Relations
Marcelo E. Cabrol
Manager
Iván Duque Márquez
Chief, Cultural, Solidarity and Creativity Affairs Division
Cathleen Farrell
Chief, Communications Management Division
Cataloging-in-Publication data provided by the
Felipe Herrera Library
Art in society : the power of culture = Arte en la sociedad : el poder de la cultura.
p. cm.
“IDB Cultural Center 20th Anniversary, 1992-2012.”—Cover.
“August 1 to September 28, 2012.”—Cover.
1. Art, Latin American—Exhibitions. 2. Art, Latin American—Exhibitions—Catalogs. 3. IDB Cultural Center—Exhibitions.
I. IDB Cultural Center. II. Inter-American Development Bank. Cultural, Solidarity and Creativity Affairs Division.
N6502.A78 2012
709.8 A78—dc22
Copyright © [year of first publication] Inter-American Development Bank. All rights reserved; may be freely reproduced for any non-commercial purpose.
The unauthorized commercial use of Bank documents is prohibited and may be punishable under the Bank’s policies and/or applicable laws.
Art in Society: The Power of Culture
Arte en la sociedad: el poder de la cultura
August 1 to September 28, 2012
Index / Índice
Foreword / Presentación....................................................................... v
Introduction / Introducción................................................................vi
IDB Art Collection / Colección de Arte del BID.............................. x
Argentina
Emilio Pettoruti ............................................................................... 1
Benito Quinquela Martín ................................................................2
Cristina Santander...........................................................................3
Antonio Seguí ..................................................................................4
Bahamas
Maxwell Taylor ................................................................................5
Belize
Gilvano Swasey ...............................................................................6
Bolivia
Alfredo Da Silva ...............................................................................7
Gaspar Miguel De Berrío .................................................................8
María Luisa Pacheco .......................................................................9
Brazil
Victor Brecheret ............................................................................10
Thaís Salgado Helt ....................................................................... 11
Kazuo Wakabayashi ...................................................................... 12
Canada
Kenojuak Ashevak ......................................................................... 13
Chile
Samy Benmayor ............................................................................14
Roberto Sebastián Matta .............................................................. 15
Carlos Maturana (Bororo)..............................................................16
Gastón Orellana ............................................................................. 17
Colombia
Olga de Amaral ..............................................................................18
Enrique Grau .................................................................................19
David Manzur ............................................................................... 20
Edgar Negret .................................................................................. 21
Costa Rica
Francisco “Paco” Amighetti Ruiz ..................................................22
José Alberto Hernández Campos ..................................................23
Francisco Zúñiga ...........................................................................24
Cuba
Carmen Herrera .............................................................................25
Wifredo Lam ..................................................................................26
Emilio Sánchez ..............................................................................27
Dominican Republic
Tony Capellán ................................................................................28
Raúl Recio .....................................................................................29
Enriquillo Rodríguez Amiama ...................................................... 30
Ecuador
Oswaldo Guayasamín .................................................................... 31
Eduardo Kingman ..........................................................................32
El Salvador
Benjamín Cañas ............................................................................33
Guatemala
Rodolfo Abularach .........................................................................34
Luis González Palma .....................................................................35
Carlos Mérida ................................................................................36
Guyana
Winston Strick ...............................................................................37
Haiti
Wilson Bigaud ...............................................................................38
Joseph Jean-Gilles .........................................................................39
Yves Telemak ................................................................................ 40
Honduras
Byron Lombardo Mejía ..................................................................41
Jamaica
David Boxer ...................................................................................42
Gerard Hanson ..............................................................................43
Japan
Toyohara Kunichika....................................................................... 44
Korea
Kwang-Young Chun ........................................................................45
Mexico
Dr. Atl (Gerardo Murillo) .............................................................. 46
Diego Rivera ..................................................................................47
David Alfaro Siqueiros ................................................................. 48
Rufino Tamayo .............................................................................. 49
Nicaragua
Alejandro Aróstegui ..................................................................... 50
Omar D’Leon .................................................................................. 51
Armando Morales ..........................................................................52
Panama
Julio Zachrisson .............................................................................53
Paraguay
Enrique Collar ...............................................................................54
Carlos Colombino ..........................................................................55
Peru
Fernando de Szyszlo .....................................................................56
Carlos Runcie Tanaka ....................................................................57
José Sabogal ..................................................................................58
Venancio Shinki Huamán ..............................................................59
Spain
Antoni Gaudí ................................................................................ 60
Suriname
George Struikelblok ......................................................................61
Trinidad and Tobago
Christopher Cozier ........................................................................62
United States
Keith Haring ..................................................................................63
Mauricio Lasansky ....................................................................... 64
Roy Lichtenstein ............................................................................65
Andy Warhol ................................................................................. 66
Uruguay
Jorge Damiani ................................................................................67
Pedro Figari .................................................................................. 68
Raquel Orzuj ................................................................................. 69
Joaquín Torres-García .................................................................. 70
Venezuela
Carlos Cruz-Diez ............................................................................ 71
Humberto Jaimes Sánchez ............................................................72
Jesús Rafael Soto ...........................................................................73
Highlights from IDB Cultural Center Activities /
Actividades sobresalientes del Centro Cultural del BID ..........75
Foreword / Presentación
Art is for Everyone
El arte es para todos
The Inter-American Development Bank is
pleased to present this exhibition of major
pieces from its Art Collection, which is
the product of twenty years of dedicated
curatorship by the IDB Cultural Center. It
represents the life of our institution, and
has served as an instrument for cultural
outreach to show the best from Latin
American and Caribbean artists.
El Banco Interamericano de Desarrollo se
complace en presentar esta exhibición de las
más importantes piezas de nuestra colección
de arte, que es el producto de veinte años de
dedicada curaduría realizada por el Centro
Cultural del BID. Ello refleja la vida de
nuestra institución y ha servido como un
instrumento de difusión cultural que muestra
lo mejor de los creadores latinoamericanos y
caribeños.
The Cultural, Solidarity and Creativity
Affairs Division in the Office of External
Relations has embarked on a strategic
path to spread the cultural heritage of the
region. We look forward to presenting, by
the end of this year, a new interactive media
communications system that will allow the
public to enjoy our Art Collection, making
it an accessible educational treasure for
research.
La División de Cultura, Creatividad y
Solidaridad de la Oficina de Relaciones
Externas del BID, ha venido adelantando
una labor estratégica para difundir el acervo
cultural de la región. Esperamos contar para
finales de este año con un nuevo medio de
difusión interactivo que permitirá al público
disfrutar de nuestra colección, convirtiéndola
en un accesible tesoro educativo de consulta.
Within our institution, culture has become
an essential element in development
policies, and art has become a vehicle to
connect with society and reflect its heritage.
We invite you to join our institutional
effort to strengthen public cultural policies,
to support the initiatives of creative
entrepreneurs in remote areas of the
continent, and to make culture a pillar of
social cohesion and community support.
Para nuestra institución, la cultura ha sido
un elemento esencial en las políticas de
desarrollo, y el arte ha sido un vehículo
para conectarse con la sociedad y preservar
su patrimonio. Los invitamos a unirse a
nuestro esfuerzo institucional para fortalecer
las políticas públicas culturales, apoyar las
iniciativas de emprendedores creativos en
las zonas apartadas del continente, y hacer
de la cultura un pilar de cohesión social y
fortalecimiento comunitario.
Luis Alberto Moreno
Luis Alberto Moreno
President
Washington, DC
Presidente
Banco Interamericano de Desarrollo
Washington, DC
IDB Cultural Center 20th Anniversary
v
Introduction / Introducción
Art in Society:
The Power of Culture
Arte en la sociedad:
el poder de la cultura
The Inter-American Development Bank
opened its doors more than fifty years ago
with a creative vision for social and economic growth in Latin America and the Caribbean. Within our institution’s appraisal
of the strengths of the Region, the value of
culture has always been considered an element of cohesion among our peoples, and a
measure of social wealth that distinguishes
us in the eyes of the world.
El Banco Interamericano de Desarrollo abrió
sus puertas hace más de 50 años con una
visión creativa para el crecimiento económico
y social de América Latina y el Caribe.
Dentro de la concepción institucional sobre
las fortalezas de la región siempre estuvo
presente el valor de la cultura como elemento
de cohesión entre nuestros pueblos y, sobre
todo, como un factor de riqueza social que
nos define ante los ojos del mundo.
Perhaps for this reason the Bank has always
endeavored to include culture and creativity
as integral components of the economic and
social development process. In 1992, this
priority was realized when the IDB Cultural
Center was created, and its four programs
began (cultural development grants, art
exhibitions; concerts, lectures and film
series; and art collection management). At
that time, credit operations and technical
cooperation focused on cultural initiatives
with social impact were implemented, eventually leading to the creation of the Cultural,
Solidarity and Creativity Affairs Division in
the Office of External Relations.
Tal vez por ese motivo el BID ha sido una
institución que siempre se ha preocupado
por integrar la cultura y la creatividad como
partes vitales del proceso de desarrollo
económico y social. La confirmación de
este propósito se dio con mayor fuerza en
1992 con la creación de su Centro Cultural,
la puesta en marcha de operaciones de
crédito y cooperación técnica orientadas
hacia elementos culturales con enormes
externalidades sociales y, más recientemente,
con la creación de una División de Asuntos
Culturales, de Solidaridad y de Creatividad de
la Oficina de Relaciones Externas.
The IDB Cultural Center’s work in the
culture sector has been impressive as corroborated by the more than 500 cultural
entrepreneurship projects co-financed in all
the Bank’s borrowing member countries.
At headquarters, more than 480 cultural
events and eighty art exhibitions have
served to disseminate the artistic patrimony
of the Bank’s 48 member countries; and the
IDB Art Collection has traveled around the
region as a cultural ambassador over twenty
times.
One of the Bank’s most remarkable contributions has been to assemble an art collection representing the cultural diversity
El trabajo del BID en el sector cultural
ha sido importante como lo corroboran
los más de 500 proyectos co-financiados
en sus 26 países prestatarios; los más de
480 eventos realizados para difundir el
patrimonio artístico de los países que
integran la institución; las más de 80
exhibiciones abiertas al público en la ciudad
de Washington y las casi 20 exhibiciones
itinerantes que han engalanado salas
de renombre en la región, sirviendo de
embajadoras del talento continental.
Una de las obras más destacables de la
institución ha sido la de conformar una
Colección de Arte que refleje la diversidad
cultural de sus países miembros y sirva
de vehículo educativo, promocional y
vii
of its partners. Comprising 1,722 pieces,
this collection is the heritage of each and
every citizen in the IDB member countries.
Both within its installation at headquarters,
and when traveling abroad, it serves as an
educational tool for all those who wish to
examine the artistic and historical heritage
of a region whose history and social evolution has been embellished by color and
inspiration.
Through exhibitions and publications, the
Bank has often sought to share the unique
pictorial, photographic, and abstract expressions of our peoples. In 2013, in fulfillment
of this outreach mandate and using new
technologies, we have proposed to vastly
disseminate access to the Collection into the
hands of anyone who wants to experience
Latin America and the Caribbean through
art.
Over the years, the IDB Art Collection has
been built with strict curatorial rigor, and
without any profit objectives. Its images and
sculptures communicate social messages
from an international financial organization
dedicated to poverty reduction, institutional
strengthening, continental integration and
economic progress. Throughout our history,
the artworks of major artists of the continent have invited us to conceive its influences, its social moments, and the political
circumstances driving each stroke. Quite
possibly these works hold the desires of
generations to claim their creative impetus
as derived from the Canadian Arctic regions
to the glaciers of the Southern Cone.
Since 1992 every artwork that entered the
IDB became part of the institutional collection, which makes it different from the
collection’s first phase, from 1959 to 1992,
when artworks were acquired for purely
decorative purposes to adorn the workspaces of our buildings. This curatorial focus
has made the institutional component of
the Collection a treasure protected by strict
criteria that provides artistic and conceptual
context to each piece. The institutional collection holds 900 contemporary artworks of
viii
patrimonial para todos aquellos que deseen
conocer las profundas raíces artísticas de una
región donde el color y la inspiración de los
creadores adornan nuestra evolución social.
Esta Colección conformada por 1.722 piezas
es un patrimonio de todos y cada uno de
los ciudadanos de los países miembros.
Reconociendo esa condición de bien público,
el BID ha procurado difundirlo mediante
exhibiciones y publicaciones para informar
al ciudadano sobre la tradición pictórica,
fotográfica, figurativa y abstracta de nuestros
pueblos. En cumplimiento de este deseo y
haciendo uso de nuevas tecnologías, nos
hemos propuesto llevar la Colección al
público masivamente durante el próximo
año, poniéndola al alcance de todos quienes
quieran acercarse a América Latina y el
Caribe a través del arte.
Construida a lo largo de décadas con rigor
curatorial y sin fines de lucro, la Colección
de Arte del BID tiene una gran fortaleza
comunicacional. Sus imágenes y esculturas
llevan consigo mensajes sociales propios de
una institución concebida para contribuir en
la reducción de la pobreza, el fortalecimiento
institucional, la integración continental y el
progreso económico y social. Las obras de los
principales artistas del continente a lo largo
de nuestra historia nos invitan a entender
sus influencias, sus momentos sociales, las
circunstancias políticas que marcaron cada
pincelada y, no pocas veces, sus anhelos
generacionales.
Desde hace dos décadas, cada obra de
arte que ingresa al BID hace parte de una
Colección Institucional que se diferencia de
la primera etapa, entre 1959 y 1992, donde
las piezas tenían principalmente como
finalidad adornar los espacios laborales
de la institución. Esta diferencia ha hecho
del componente institucional un tesoro
demarcado por criterios técnicos que realzan
el contexto artístico y conceptual a cada obra.
Si se considera que la Colección Institucional
esta compuesta por cerca de 900 creaciones,
tenemos ante nosotros un patrimonio de arte
contemporáneo de talla mundial, con un valor
histórico imperecedero.
world-class heritage and enduring historical
value.
We publish this catalog to commemorate
the 20th Anniversary of the founding of
the IDB Cultural Center, and to accompany
this exhibition, “Art in Society: The Power
of Culture.” We reflect on our mission to
protect Latin American and Caribbean
cultural heritage, encourage intercultural
dialogue and cooperation, and bring human
dimension and social responsibility to an
international organization dedicated to the
common good.
The IDB is the only multilateral lending
organization that has a Cultural Center
destined to promote creative entrepreneurship and spread the ancestral wealth of its
member states, while opening the world
to artists and stimulating the growth of
culture industries. That mission is a distinctive quality in the Bank, as is its desire to
map the continent’s cultural infrastructure,
and research the economic impact of the
creative economy; these are two important
tasks that will help cultural policy flourish
on the continent.
In the future the IDB’s work in the culture
sector will be characterized by a dynamic
integration of cultural and creative agendas
within the operational lines of credit products and technical cooperation offered by
the Bank. This is the work of an organization that sees Latin America and the Caribbean in a historic process of transformation
towards a knowledge economy.
Culture and creativity are the basis for the
transition towards a society of ideas, talent,
intellectual property and greater social capital. Therein we find the power of culture in
our society and the commitment of the IDB
to vigorously protect, strengthen, and make
it accessible to all.
Este catálogo publicado para conmemorar los
20 años del Centro Cultural, en el marco de la
exhibición “Arte en la sociedad: el poder de la
cultura”, deja en alto que la Colección de Arte
signa el carácter del BID, reafirma nuestra
misión de promover el patrimonio artístico
latinoamericano y caribeño, fomenta el diálogo
y la cooperación intercultural y le da una
dimensión humana y de responsabilidad social a
un ente internacional de derecho público.
El BID es el único organismo multilateral de
crédito que cuenta con un Centro Cultural
destinado a fomentar el emprendimiento
creativo y difundir la riqueza artística de sus
países miembros, mientras abre el mundo a los
artistas y estimula las industrias culturales. Esa
misión es un valor distintivo del BID, al igual
que lo es su deseo de mapear la infraestructura
cultural del continente y dimensionar la
economía creativa, dos importantes tareas para
el funcionamiento de las políticas culturales en
el continente.
Hacia el futuro el trabajo del BID en el
sector cultural estará marcado por una
dinámica integración de la agenda cultural y
creativa dentro de sus líneas operativas y sus
productos de crédito y cooperación técnica.
Este es el trabajo de un organismo que ve a
América Latina y el Caribe en un proceso de
transformación histórica y en dirección hacia
una economía del conocimiento.
La cultura y la creatividad son las bases de la
transición de nuestra región hacia una sociedad
de ideas, de talento, de propiedad intelectual
y de mayor capital social. Ahí radica el poder
de la cultura y el compromiso del Banco
Interamericano de Desarrollo de contribuir
vigorosamente a protegerla, fortalecerla y
democratizarla para todos sus ciudadanos.
Chief
Cultural, Solidarity and Creativity Affairs Division
Jefe
División de Asuntos Culturales, de Solidaridad
y de Creatividad
Banco Interamericano de Desarrollo
ix
Highlights from the IDB Art Collection
Obras sobresalientes de la colección de
Arte del BID
Cuadernos de música
(Music Notebooks), 1919
Emilio Pettoruti
Argentina (La Plata, Argentina, 1892 - Paris,
France, 1971)
ink on paper (tinta sobre papel)
7 1/2 x 9 1/2 inches (19 x 24 cm)
Emilio Pettoruti caused a scandal with his avant-garde cubist exhibition
in 1924 in Buenos Aires. While Pettoruti was influenced by cubism,
futurism, constructivism, and abstraction, he did not claim to paint
in any of those styles in particular. Exhibiting all over Europe and
Argentina, Emilio Pettoruti is remembered as a pioneer of Modernism in
Latin America, and one of the most influential artists in Argentina in the
20th century for his unique style and vision.
Emilio Pettoruti provocó un escándalo con la exposición cubista de
vanguardia que realizó en Buenos Aires en 1924. Si bien había recibido
influencias del cubismo, el futurismo, el constructivismo y la abstracción,
no reivindicaba ninguno de esos estilos en particular para su pintura.
Con muestras en toda Europa y en Argentina, Emilio Pettoruti es
recordado como un pionero del modernismo en América Latina y uno
de los artistas más influyentes en la Argentina del siglo XX, por su estilo
único y su visión excepcional.
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1
Entrando a la Boca
(Entering the Boca), 1965
Benito Quinquela Martín
Argentina (Buenos Aires, Argentina, 1890 - Buenos
Aires, Argentina, 1977)
oil on canvas (óleo sobre tela)
31 x 35 inches (79 x 89 cm)
2
The port of Buenos Aires was a favorite subject of this popular late
Postimpressionist who emulated Monet, and created dozens of
versions of the same theme, mainly the Port of La Boca, the subject
of this painting, which became very popular in the 1910s among the
Buenos Aires elite.
El puerto de Buenos Aires era la musa favorita de este popular
posimpresionista tardío que emulaba a Monet. Quinquela Martín
creó innumerables versiones del mismo tema, principalmente del
puerto de La Boca. Su pintura se puso de moda en la década de 1910
entre los miembros de la élite porteña.
La Duquesa de Alba
(The Duchess of Alba), 1992
Cristina Santander
Argentina (Buenos Aires, Argentina, 1942 - )
etching, aquatint and collage, AP
(aguafuerte, aguatinta y collage)
48 1/4 x 41 inches (122 x 104 cm)
Cristina Santander studied at the National School of Fine Arts where
she still teaches drawing and engraving. She attended the Atelier
17 in Paris with Stanley W. Hayter, and received a scholarship from
the Government of France to study in Madrid. Her works have been
collected by the Reina Sofia Museum in Madrid, National Library of
Paris, National Library of Buenos Aires, the Iberia Collection and the
Estampa Collection, among others.
Cristina Santander estudió en la Escuela Nacional de Bellas Artes, donde
ahora enseña dibujo y grabado. Tomó clases con Stanley W. Hayter en
el Atelier 17, en París, y recibió una beca del gobierno de Francia para
estudiar en Madrid. Sus obras forman parte de la colección del Museo
Reina Sofía en Madrid, la Biblioteca Nacional de París, la Biblioteca
Nacional de Buenos Aires, la Colección Iberia y la Colección Estampa,
entre otras.
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Sin título (Untitled), 1970
Antonio Seguí
Argentina (Córdoba, Argentina, 1934 - )
oil on canvas (óleo sobre tela)
51 ½ x 76 15/16 inches (130 x 195,5 cm)
In the late 1970s Seguí embarked on the New Figuration
that became characteristic of his work, presenting geometric,
quadrangular, normally empty interiors, or else exteriors that
are opaque in content but colored in texture. He enclosed
human figures in cubes that give the impression of a melancholy
theatrical montage. His imaginative vision is best seen in works
completed between 1976 and 1980.
Hacia fines de los años setenta, Seguí se embarcó en la Nueva
Figuración, corriente artística que se volvió característica de
su obra, con interiores geométricos, cuadrangulares y por lo
general vacíos, o bien exteriores de contenido opaco pero textura
coloreada. En los cuadros de Seguí aparecen figuras humanas
encerradas en cubos, que dan la impresión de un melancólico
montaje teatral. La imaginativa visión de este artista se aprecia
mejor en las obras realizadas entre 1976 y 1980.
4
Lord, Am Tired
(Señor, estoy cansada), 1996
Maxwell Taylor
Bahamas (Nassau, Bahamas, 1938 - )
woodcut on paper (grabado sobre papel)
48 x 36 inches (122 x 91 cm)
As a founding member of the B-Cause Group (Nassau, 1991), Taylor is one
of the key figures in the development of the arts in the Bahamas over the
past thirty years. His influence was felt among other artists as he urged
them to move away from “postcard” art. Taylor became familiar with
woodcuts during brief studies at the Pratt Institute and Art Student League
in New York. This work in particular echoes racial oppression, and the
legacies of slavery.
Como miembro fundador del B-Cause Group (Nassau, 1991), Taylor ha sido
una de las figuras claves en el desarrollo de las artes bahamesas a lo largo
de los últimos treinta años. Su influencia es perceptible en otros artistas,
en la medida en que los ha urgido a salir del arte de “postal”. Taylor se
familiarizó con el grabado durante sus breves estudios en el Instituto Pratt
y en la Art Student League, en Nueva York. Estas obras en particular se
hacen eco de la opresión racial y de los legados de la esclavitud.
5
Blue Sunshine
(Resplandor azul), 2001
Gilvano Swasey
Belize (Belize City, Belize, 1975 - )
linoleum print on paper
(linoleografía impresa sobre papel)
20 x 16 inches (51 x 41 cm)
6
Gilvano Swasey is an artist committed to many endeavors, including
photographic arrangements with social meaning, collages and
surreal compositions, and both expressionistic and realistic portraits.
Swasey is one of the most highly praised artists of his generation.
This linocut represents his more traditional style, which conveys a
concern for the people and the environment to which he belongs.
En su multifacética producción, Gilvano Swasey incluye
disposiciones fotográficas con significado social, collages y
composiciones surrealistas, y retratos tanto expresionistas como
realistas. Es uno de los artistas más ponderados de su generación.
El grabado al linóleo reproducido aquí representa su estilo más
tradicional, que expresa la preocupación por el pueblo y el entorno al
que pertenece el autor.
Sin título (Untitled), c. 1961
Alfredo Da Silva
Bolivia (Potosi, Bolivia, 1935 - )
oil on canvas
(óleo sobre tela)
48 x 57 ½ inches (122 x 146 cm)
In his nonfigurative work of the 1960’s, Alfredo Da Silva seemingly aspires
to the forms and silence of interstellar space. His intricate geometric
constructions, suggestive of strange functionless machines, could well be
termed space age abstractions. His production, based on a repertory of forms
that alternate between the geometric and the organic, has always been rich
in meaning. He has never been able to banish completely from his mind
the hallucinatory images of the Valley of the Moon near La Paz, as attested
in his work by the mineral-like sharpness of the draftsmanship and the
labyrinthine intricacy of the total composition.
En su obra no figurativa de los años sesenta, Alfredo Da Silva parece aspirar
a representar las formas y el silencio del espacio interestelar. Sus intrincadas
construcciones geométricas, que sugieren extrañas máquinas carentes de
función, bien podrían denominarse “abstracciones de la era espacial”. Su
producción, basada en un repertorio de formas que alternan lo geométrico con
lo orgánico, ha estado siempre dotada de una plétora de significados. Da Silva
nunca logró borrar por completo de su mente las imágenes alucinantes del
Valle de la Luna, en las inmediaciones de La Paz, como lo atestiguan la nitidez
cuasi mineral de su dibujo y la intrincación laberíntica de la composición total.
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Virgen del Carmen
(Our Lady of Mercy), 1761
Gaspar Miguel De Berrío
Bolivia (Potosí, c. 1706 - 1762)
oil on canvas
(óleo sobre tela)
33 ¾ x 26 ½ inches (86 x 67cm)
8
One of the most important American Baroque painters of
his day and a student of Melchor Pérez de Holguín, Gaspar
Miguel de Berrío was representative of the School of Potosí. His
works combine religious themes and symbols, gold leaf, and
contemporary townscapes. This work was commissioned by Juan
de Iturbe of Potosí, and purchased at Sotheby’s auction in 1992.
Gaspar Miguel de Berrío, alumno de Melchor Pérez de Holguín
y representante de la Escuela de Potosí, fue uno de los pintores
más importantes del barroco americano de su época. Sus obras,
que combinan temas y símbolos religiosos con paisajes urbanos
contemporáneos, se caracterizan por el uso del pan de oro. Este
cuadro, encargado por Juan Iturbe de Potosí, fue adquirido en una
subasta de Sotheby’s, en 1992.
María Luisa Pacheco
Bolivia (La Paz, Bolivia, 1919 New York, USA, 1982)
oil on canvas
(óleo sobre tela)
40 ½ x 49 inches (103 x 124,5 cm)
Her painting has been traced as beginning within the framework of native
realism but incorporating other more abstract and expressive elements
by the end of the 1940’s. When she moved to New York her paintings
became totally abstract and expressive, influenced by the prevalent
artistic movements. Pacheco’s style is also characterized by her use and
incorporation of materials such as wood and cloth into her paintings,
collages and drawings.
Un recorrido por la pintura de esta artista permite advertir cómo pasa
de sus inicios en el marco del realismo nativo a la incorporación de
otros elementos, más abstractos y expresivos, hacia fines de la década de
1940. Cuando María Luisa Pacheco se mudó a Nueva York, sus pinturas
se volvieron totalmente abstractas y expresivas, bajo la influencia de los
movimientos artísticos prevalecientes por entonces. El estilo de Pacheco
también se caracteriza por el uso y la incorporación de materiales como la
madera y la tela en sus pinturas, collages y dibujos.
9
San Francisco
(Saint Francis), c. 1950
Victor Brecheret
Brazil (Farnese, Italy, 1894 São Paulo, Brazil, 1955)
bronze (bronce)
22 1/16 x 6 11/16 inches (56 x 17 cm)
Brecheret was an Italian-Brazilian sculptor and one of the first
Brazilian modernists to achieve success. He lived most of his life in
São Paulo, except for studies in Paris in his early twenties. Brecheret’s
work combines techniques of European modernist sculpture with
references to his native country: the physical characteristics of his
human forms and visual motifs drawn from Brazilian folk art. Many
of his subjects are figures from the Bible or classical mythology.
Este escultor ítalo-brasileño fue uno de los primeros modernistas de
Brasil en alcanzar el éxito. Vivió la mayor parte de su vida en San
Pablo, a excepción del período que pasó estudiando en París cuando
era un joven de veintitantos. La obra de Brecheret, que combina
técnicas de la escultura modernista europea con referencias a su tierra
natal, se expresa a través de las características físicas de sus formas
humanas, así como de los motivos visuales extraídos del arte folclórico
brasileño. Muchos de sus temas representan figuras de la Biblia o de la
mitología clásica.
10
Sin título da Série Gaveta dos
Recuerdos
(Untitled from the Memory Drawer
Series), 2005
Thaís Salgado Helt
Brazil (Juiz de Fora, Minas Gerais, 1948 - )
mixed media on paper
(lithograph and embroidery)
técnica mixta sobre papel (litografía y bordado)
33 7/16 x 45 11/16 inches (85x 116 cm)
Thaís Salgado Helt is a veteran printmaker and founder, with
her husband George Helft, of Oficina Cinco (“Workshop Five”), a
lithographic workshop open to artists. Her work possesses stamina
and character; her uninhibited expressionistic hand strokes have both
graphic and pictorial qualities. A proponent of mid-20th century classical
Brazilian abstraction, her work is also infused with a violent, dry,
unsentimental lyricism, which gives her a voice of her own.
Esta experta grabadora fundó, junto con su marido George Helft, Oficina
Cinco (“Taller Cinco”), un taller litográfico abierto a los artistas. En
su obra, dotada de fortaleza y carácter, los trazos desenfadadamente
expresionistas exhiben cualidades tanto gráficas como pictóricas.
Partidaria de la abstracción brasileña clásica de mediados del siglo XX,
Thaís Salgado Helft también ha imbuido su arte de un lirismo violento,
áspero y exento de sentimentalismo, que le confiere una voz propia.
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Composição I
(Composition I, Composición I), 2006
Kazuo Wakabayashi
Brazil (Kobe, Japan, 1931 - )
serigraphy on paper 73/120
(serigrafía sobre papel 73/120)
35 ½ x 25 inches (90 x 63,5 cm)
12
Japanese born artist Kazuo Wakabayashi is a naturalized
Brazilian. He was a pupil of Konosuke Tamura, from 1947 to 1950,
while still attending a course at the Niki Academy in Japan. In
1961, Wakabayashi immigrated to Brazil and settled down in São
Paulo. He has participated in innumerable exhibitions throughout
the world.
Originario de Japón y naturalizado brasileño, Kazuo Wakabayashi
fue discípulo de Konosuke Tamura de 1947 a 1950, mientras
cursaba aún estudios en la Academia Niki, en Japón. En 1961
emigró a Brasil y se estableció en la ciudad de San Pablo.
Wakabayashi ha participado en innumerables exposiciones en
todo el mundo.
Darkness Descending
(Oscuridad que desciende), 2000
Kenojuak Ashevak
Canada (Ikerrasak, Canada, 1927 - )
color lithograph on paper
(litografía a color sobre papel)
38 x 57 inches (96,5x 145 cm)
Born in Ikerrasak, Northwest Territories, Kenojuak Ashevak spent most of
her life living on the land in a manner not unlike her ancestors, traveling
from camp to camp in South Baffin and Arctic Quebec, as hunting dictated.
Perhaps the most internationally recognized of all Inuit artists, Kenojuak
received the Order of Canada in 1967 and was also elected to the Royal
Canadian Academy in 1974. Three of her images have been released as
Canadian postage stamps. Her work, a signature style being simple, direct
and vivacious, has attracted art collectors and delighted audiences around the
world.
Nacida en Ikerrasak, en los Territorios del Noroeste, Canadá, Kenojuak
Ashevak transcurrió la mayor parte de su existencia viviendo casi como
sus ancestros, que se trasladaban de campamento en campamento por el
sur de Baffin y el Quebec ártico tras las presas de caza. Tal vez la artista
inuit más reconocida en el mundo, Kenojuak recibió la Orden de Canadá en
1967 y también fue elegida para integrar la Academia Real Canadiense en
1974. Tres de sus imágenes fueron impresas en sellos postales canadienses.
Su obra, cuya impronta es la simpleza, el estilo directo y la vivacidad, ha
atraído a coleccionistas y públicos del mundo entero.
13
Composición III
(Composition III), 1990
Samy Benmayor
Chile (Santiago, Chile, 1956 - )
oil on canvas
(óleo sobre tela)
65 ¼ x 66 ¼ inches (166 x 168 cm)
Samy Benmayor represents a new generation of Chilean artists
that appeared in the early 1980s. He openly adopted avant-garde
international influences, such as surrealism and abstractionism,
different from the artistic traditions of his country. Although
his work follows certain pictorial constants, it has never lost its
disorganized enchantment, reinventing itself constantly and
reflecting a spirit little circumscribed by the conventional.
Samy Benmayor representa a una nueva generación de artistas
chilenos, surgida a principios de los años ochenta. Adoptó
abiertamente influencias internacionales de vanguardia, como
el surrealismo y el abstraccionismo, diferentes de las tradiciones
artísticas de su país. Aunque su obra sigue ciertas constantes
pictóricas, nunca ha perdido su desorganizado encanto, ya que se
reinventa a sí misma de manera constante y refleja un espíritu poco
circunscripto a lo convencional.
14
Verbo América
(The Eloquent Poetry of Latin
America), 1997
From the Matta-Parra Series, Poem by
Nicanor Parra
Roberto Sebastián Matta
Chile (Santiago, Chile, 1911 – Civitavecchia,
Italy, 2002)
etching 16/75 on paper
(aguafuerte 16/75 sobre papel)
30 x 43 11/16 inches (76 x 111 cm)
Gift of Mario J. Navarro, 1999
(Obsequio de Mario J. Navarro, 1999)
Roberto Sebastián Matta’s paintings, sometimes nightmarish and
hallucinatory, made him a premier Surrealist and major artist of the
mid-20th century. Born in Chile, he spent much of his life in France
and, beginning in 1939, nearly a decade in the United States where he
influenced the development of the New York School. Like Breton and other
Surrealists, Matta embraced the idea of automatic drawing, or working as
spontaneously as possible and as much as possible without forethought,
which was purported to be a way of tapping the unconscious.
Las pinturas de Roberto Sebastián Matta, por momentos pesadillescas
y alucinatorias, le otorgaron las calificaciones de surrealista primordial
y artista más destacado de mediados del siglo XX. Nacido en Chile, pasó
gran parte de su vida en Francia y casi una década en Estados Unidos
(a partir de 1939), donde influyó en el desarrollo de la Escuela de Nueva
York. Al igual que Breton y otros surrealistas, Matta abrazó la idea del
dibujo automático, de trabajar con la mayor espontaneidad posible y sin
reflexión previa, técnica con la que se apuntaba a abrir las compuertas del
inconsciente.
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Los Angeles, 1988
Carlos Maturana (Bororo)
Chile (Santiago, Chile, 1953 - )
oil on linen
(óleo sobre lino)
78 ½ x 131 inches (199 x 333 cm)
Like many artists of his generation, Maturana is motivated by
vehement improvisation. On many occasions, his painting has
been the result of fortuitous chance impelled by passion and
sentiment that have been constants in his life since he was a child.
He formed part of the Generación 80 with Samy Benmayor, Omar
Gatica, Ismael Frigerio, among others, which sought to restore
the aimless playfulness of art. He has participated in numerous
exhibitions around the world.
Como muchos artistas de su generación, Maturana está motivado
por la improvisación vehemente. Varias de sus pinturas son fruto
del azar impelido por la pasión y el sentimiento, constantes en
su vida desde la niñez. Junto a Samy Benmayor, Omar Gatica e
Ismael Frigerio, entre otros, formó parte de la Generación del 80,
que intentaba restaurar la lúdica ausencia de rumbo en el arte.
Maturana ha participado en numerosas exposiciones en todo el
globo.
16
Gastón Orellana
Chile (Valparaiso, Chile, 1933 - )
pastel on paper
(pastel sobre papel)
13 ¾ x 20 inches (35 x 51 cm)
In 1954, Orellana met Pablo Neruda, establishing an intense relationship that
was to last until the death of the poet. This friendship was to greatly affect
Orellana, to whom the poet dedicated the poem “Recibimiento” in 1966,
praising “what lies in the work/ of Orellana/ is as alive/ as a life, as secure as/
an object, as mysterious/ as a stone.” He was a founding member of the Grupo
Hondo in Spain proclaiming Neo-figurative principles. His later work depicted
violence and human denigration, and after years in New York, he eventually
moved on to colossal assemblages and collage with metal.
En 1954, Orellana conoció a Pablo Neruda, con quien entabló una intensa
amistad, que duraría hasta la muerte del poeta. Esta amistad ejercería
en él una fuerte influencia; Neruda, a su vez, le dedicó en 1966 el poema
“Recibimiento”, elogiándolo por su obra viva y misteriosa. En España,
Orellana fue miembro fundador del Grupo Hondo, que proclamaba principios
neofigurativos. Su obra posterior es expresión de la violencia y la denigración
humana. Luego de pasar algunos años en Nueva York, decidió incursionar en
los ensamblajes colosales y en el collage con metal.
17
Riscos calizos
(Limestone Cliffs), 1988
Olga de Amaral
Colombia (Santafé de Bogotá, Colombia, 1932 - )
wool (lana)
99 x 114 inches (251,5 x 289,5 cm)
Olga de Amaral is a pioneer in the area of fiber art. She discovered her
love of textiles at the Cranbrook Academy of Art in Michigan in 1954.
In the mid-1960s she began to use textiles to search for new structural,
organic, and chromatic possibilities. The features of her work are
evocative of the Andes, while the treatment of wool, horsehair and
gold leaf alludes to pre-Columbian and colonial cultures. In the last
few years she has experimented with design and color to create
spectacular golden panels that glisten as they catch light at different
angles.
Olga de Amaral es pionera en el arte elaborado con fibras. Descubrió
el amor por las telas en la Academia Cranbrook de Arte de Michigan,
en 1954. A mediados de los años sesenta comenzó a usar materiales
textiles, en busca de nuevas posibilidades estructurales, orgánicas
y cromáticas. Los rasgos de su trabajo evocan a los Andes, en tanto
que el tratamiento de la lana, la crin y el pan de oro alude a las
culturas precolombinas y coloniales. En los últimos años, la artista
ha experimentado con el diseño y el color para crear espectaculares
paneles dorados que refulgen al captar la luz desde diferentes
ángulos.
18
El beso
(The Kiss), 1995
Enrique Grau
Colombia (Panama City, Panama, 1920 - Bogotá,
Colombia, 2004)
bronze (bronce)
6 ¼ x 21 ½ x 21 ¾ inches (16 x 55 x 55 cm)
Enrique Grau helped to establish new points of departure for Colombian
art in the 1950s. Grau was granted a scholarship by the Colombian
government to study at the Art Students League in New York, where
he remained until 1943. Grau’s refined technique is marked by a firm
grounding in drawing and his expert handling of pictorial matter, which
resulted in part from his studies of painting and fresco at the Academy
of San Marco in Florence. In his compositions one can find a seemingly
arbitrary association of figures and objects.
Enrique Grau contribuyó a establecer nuevos puntos de partida para el
arte de su país en la década de 1950. Obtuvo una beca gubernamental
para estudiar en la Art Students League de Nueva York, donde
permaneció hasta 1943. Su refinada técnica se caracteriza por una
sólida formación en dibujo y un manejo experto del material pictórico,
en parte resultado de una educación artística que incluyó estudios de
pintura y fresco en la Academia de San Marco, Florencia. Muchas de
sus composiciones exhiben una asociación aparentemente arbitraria de
figuras y objetos.
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Tres elementos de una flor
(Three Elements of a Flower), 1961
David Manzur
Colombia (Neira, Colombia, 1929 - )
oil on canvas
(óleo sobre tela)
71 x 55 inches (180 x 140 cm)
Manzur is most well known for his monumental murals in
Bogotá, Cali and Miami. Manzur’s work has a connection to the
old European masters, echoing the art of old, while hinting at the
modern spirit. He often depicts a scene of some unknown drama,
whose action has been frozen in time. In the 1970s he began
creating his style of still life drawings, incorporating many of
the items that had caught his interest such as the lute, fruits and
musical themes, working principally with pastel on paper as his
medium.
Manzur es conocido especialmente por sus grandiosos murales
de Bogotá, Cali y Miami. Su obra se vincula a la de los viejos
maestros europeos, pues se hace eco del arte de antaño, pero
incorpora a la vez destellos del espíritu moderno. A menudo se
describe en ella la escena de un drama anónimo cuya acción quedó
congelada en el tiempo. En la década de 1970, Manzur comenzó a
crear su estilo de naturaleza muerta, incorporando muchos de los
elementos que habían captado su interés, como el laúd, las frutas y
los temas musicales, principalmente con pasteles sobre papel.
20
Sol (Sun), 1985
Edgar Negret
Colombia (Popayán, Colombia, 1920 - )
painted aluminum
(aluminio pintado)
18 x 18 x 18 inches (46 x 46 x 46 cm)
Negret is considered one of the most innovative sculptors of the postwar era.
He began to experiment with a variety of materials, including plaster, ceramics,
iron and steel, and is known for his investigations into the development of an
abstract sculptural language that can clearly maintain visual links with the real
world. His work, like that of his North American counterparts Louise Nevelson
and Ellsworth Kelly, belongs to the international geometrical movements.
The Museo Negret was established in Popayán in 1986 by the Colombian
government as a permanent collection surveying Negret’s development as a
sculptor.
Considerado uno de los escultores más innovadores de la posguerra, Negret
ha experimentado con materiales muy diversos, como el yeso, la cerámica, el
hierro y el acero. Es conocido por sus investigaciones tendientes al desarrollo
de un lenguaje escultórico abstracto, que mantienen claros vínculos visuales
con el mundo real. Su obra, al igual que la de sus pares de Estados Unidos,
Louise Nevelson y Ellsworth Kelly, se enmarca en los movimientos geométricos
internacionales. En 1985, el gobierno colombiano inauguró en Popayán la Casa
Museo Negret, con el objetivo primordial de preservar y difundir el legado
escultórico del maestro payanés.
21
Parque (Park), 1986
Francisco “Paco” Amighetti Ruiz
Costa Rica (San José, Costa Rica, 1907 - San José,
Costa Rica, 1998)
color woodcut on paper, 16/51
(grabado a color sobre papel, 16/51)
17 ½ x 23 ¼ inches (44,5 x 59 cm)
Amighetti is considered one of the pillars of Costa Rican culture. He
was also one of the most prolific and original Latin American artists,
and continued working all his life. He was a specialist in the art of
color xylograph. Amighetti’s art spans a variety of themes, including
sexuality, death, and social commentary. His work is both intensely
personal while still relevant to an international audience. Despite
his many travels throughout the world, he wrote, “I discovered my
nation by distancing myself, I discerned it through evocations and
nostalgias and all roads led me back to it...”
Pilar de la cultura costarricense, Amighetti fue uno de los artistas
latinoamericanos más originales y prolíficos, un trabajador
incansable hasta el último día de su vida. Especialista en el arte de
la xilografía en colores, su trabajo abarca una variedad de temas,
incluidas la sexualidad, la muerte y la crítica social, lo cual confiere a
su obra un carácter tan intensamente personal como relevante para
el público de todo el orbe. Sus numerosos viajes por el mundo no
hicieron más que renovar el amor por su tierra: “Descubrí mi patria
alejándome, la vislumbré en evocaciones y nostalgias, y por todos los
caminos desemboqué en ella…”.
22
Balas (Bullets), 2006
José Alberto Hernández Campos
Costa Rica (San José, Costa Rica, 1978 - )
photograph on Kodak metallic paper
(fotografía sobre papel metálico Kodak)
39 3/8 x 59 1/16 inches (100 x 150 cm)
Hernández is a graphic designer and photographer who studied at
the School of Fine Arts at the University of Costa Rica. He established
his studio in 2004 where he specializes in illustration and visual
concepts in photography. He has exhibited all over the world, and
frequently participates in international creative projects with and for
Central American artists. His graphic work is specialized in cultural
communication via digital technology. Hernández is known for his
works on the theme of death and dying.
Diseñador gráfico y fotógrafo, Hernández estudió en la Escuela de Bellas
Artes de la Universidad de Costa Rica. En 2004 instaló su estudio, donde
se especializa en ilustración y conceptos visuales en fotografía. Ha
expuesto su producción en el mundo entero y participa frecuentemente
en proyectos creativos con artistas centroamericanos. Su trabajo gráfico
se especializa en la comunicación cultural por vía de la tecnología digital.
Hernández es conocido por sus obras sobre la agonía y la muerte.
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Maternidad (Maternity), 1974
Francisco Zúñiga
Costa Rica (Costa Rica, San José, 1912 - Mexico
City, Mexico, 1998)
graphite and color pencil on paper
(grafito y lápiz a color sobre papel)
25 9/16 x 19 5/16 inches (65 cm x 49 cm)
Francisco Zúñiga is considered one of Mexico’s leading sculptors.
He focused many of his artistic efforts on the depiction of the
indigenous people of Mexico. Like Diego Rivera, Zúñiga portrays
the figures as rounded, substantial forms with great strength and
character. Rather than representing specific individuals, Zúñiga
drawings and sculptures embody the history and emotion of
an entire population enduring the oppression of colonists, and
subsequent governments that encroached upon their ancient
culture.
Considerado uno de los principales escultores de México,
Francisco Zúñiga canalizó muchas de sus iniciativas artísticas
en la descripción de los pueblos originarios mexicanos. Al igual
que Diego Rivera, retrata las figuras como formas redondeadas
y sustanciales de gran fuerza y carácter. Más que representar
individuos específicos, los dibujos y las esculturas de Zúñiga
encarnan la historia y el sentir de todo un pueblo que soporta la
opresión de los colonialistas y de los subsecuentes gobiernos que
cercenaron su antigua cultura.
24
Verde y negro
(Green and Black), 1995
Carmen Herrera
Cuba-United States (Havana, Cuba, 1015 - )
serigraph on paper 38/65
34 1/2 x 27 inches (88 x 69 cm)
Three cultural worlds –Paris, New York, and Havana– intertwine in Carmen
Herrera’s personal life and, in various forms, in the evolution of her work. Of
different generations but similar artistic inclinations, Torres-García, Amelia
Peláez, and Carmen Herrera were in Paris together at the beginning of the
decade. The influences, direct and indirect, and the course upon which each
was soon to embark, are a metaphor for the complex artistic genealogies that
came into being among the European and American avant-gardes.
Tres universos culturales –París, Nueva York y La Habana– se entrelazan en la
vida personal de Carmen Herrera, delineando de diversas maneras la evolución
de su obra. De diferentes generaciones pero con inclinaciones similares,
Torres García, Amelia Peláez y Carmen Herrera estuvieron juntos en París.
Las influencias directas e indirectas y el rumbo que tomaría pronto cada uno
constituyen una metáfora de las complejas genealogías artísticas que cobraron
cuerpo entre las vanguardias europeas y americanas.
25
Untitled (Sin título), 1965
Wifredo Lam
Cuba (Sagua la Grande, Cuba, 1902 - Paris, France,
1982)
charcoal and pastel on paper
(carboncillo y pastel sobre papel)
27 1/8 x 20 3/8 inches (69 x 52 cm)
Wifredo Lam was able to fuse the principles of cubism and
surrealism with Latin-African and Oceanic cross-culturalism. He was
not alien to either, as his father was a Chinese immigrant to Cuba
and his mother was of Afro-Cuban origin. Born and raised in Cuba,
Lam eventually arrived in Paris, where Pablo Picasso befriended
him. After the world war erupted, Lam was more inclined toward
the Caribbean than to the urban metropolises of the north and
south. Then began his love affair with the jungle and the creatures it
generates and inspires.
Wifredo Lam logró fusionar los principios del cubismo y del
surrealismo con el crisol cultural afrolatino y transoceánico. Ninguna
de estas culturas le resultaba ajena, ya que su padre había sido un
inmigrante chino en Cuba y su madre era de origen afrocubano.
Nacido y criado en Cuba, el destino lo llevó a París, donde trabó
amistad con Pablo Picasso. Durante la Segunda Guerra Mundial, sin
embargo, pasó mucho más tiempo en el Caribe que en las metrópolis
urbanas del Norte y del Sur. En ese momento comenzó su romance
con la selva y las criaturas que ella genera e inspira.
26
Casita al Mar
(Beach House), 1974
Emilio Sánchez
Cuba-United States (Camagüey, Cuba, 1921 New York, USA, 1999)
lithograph on paper
(litografía sobre papel)
22 x 29 1/2 inches (55 x 75 cm)
Gift of the Emilio Sánchez Foundation, 2011
(Obsequio de la Fundación Emilio Sánchez,
2011)
In the 1960s Sánchez’s works became significantly more abstract, though
always maintaining a strong sense of naturalism. It is during this decade
that his work matured into an individual vision and when he began to
develop his well known paintings of houses and architectural themes.
These architectural works stand out for their simplified forms where all
superfluous details are eliminated. Here he captured the effect of light on
color making it vibrant. Despite the fact that his buildings are often devoid
of visible inhabitants, they hold a strong living presence of their own.
En la década de 1960, las obras de Sánchez se volvieron
significativamente más abstractas, aunque siempre mantuvieron un
fuerte sentido del naturalismo. Fue por entonces cuando el trabajo
de este artista maduró hacia una visión individual, en el marco de
la cual comenzó a desarrollar sus célebres pinturas de casas y temas
arquitectónicos. Estas obras se destacan por sus formas simplificadas en
las que se han eliminado todos los detalles superfluos. Es allí donde el
artista capta el efecto de la luz que vuelve vibrante el color. Si bien estos
edificios a menudo carecen de habitantes visibles, están dotados de una
vívida presencia propia.
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Signos de Arena I
(Sand Signs I), n/d
Tony Capellán
Dominican Republic (Tamboril, Dominican
Republic, 1955 - )
oil and sand on linen
(óleo y arena sobre lino)
39 1/2 x 35 1/4 inches (100 x 90 cm)
While Tony Capellán has done work in both drawing and
engraving, he has turned increasingly to painting and to
installation. Pride in his roots, the drama of the diaspora, and
current events provide inspiration for images of great impact.
In his work he exposes the social problems of his island and
the entire region. Fine texture and their division into blocks
characterize his paintings, and symbolic elements of his own
creation and reference to ritual abound.
Si bien Tony Capellán realizó dibujos y grabados, con el tiempo
fue volcándose cada vez más a la pintura y la instalación.
El orgullo por sus raíces, el drama de la diáspora y los
acontecimientos actuales inspiran en él imágenes de gran impacto,
por medio de las cuales expone los problemas sociales de su isla
y de la región entera. En sus pinturas, que se caracterizan por
la textura fina y la división en bloques, abundan las referencias
rituales y los elementos simbólicos creados por el artista.
28
Bailando merengue
(Dancing Merengue), 1991
Raúl Recio
Dominican Republic (Santo Domingo, Dominican
Republic, 1965 - )
oil on canvas
(óleo sobre tela)
38 1/8 x 52 1/8 inches (97 x 132 cm)
Recio is an irreverent poet who is deliberately iconoclastic, but also a very
serious artistic painter who is the closest to the Dominican transvanguardia.
He expresses himself freely as he mixes the satire of the tropics (sex and
sun sought by tourists) with his own satisfaction at being authentically
Dominican. Recio is one of the most extroverted and appealing personalities
to emerge from the island nation in recent years. The quality of his prints and
outstanding woodcut work show a vital, primitive force that characterizes him.
Poeta irreverente, deliberadamente iconoclasta, Recio es también un serio
pintor artístico, íntimamente ligado a la “transvanguardia” dominicana. Se
expresa con libertad, mezclando la sátira de los trópicos (el sexo y el sol que
buscan los turistas) con la satisfacción que siente por ser auténticamente
dominicano. Sin duda una de las personalidades más extrovertidas y
atractivas que surgieron en la República Dominicana en años recientes, la
fuerza primitiva y vital que lo caracteriza se manifiesta en la calidad de sus
estampas y en sus magníficos grabados.
29
Bahía en la noche
(Bay at Night), 1994
Enriquillo Rodríguez Amiama
Dominican Republic (Santo Domingo, Dominican
Republic, 1962 - )
oil and acrylic on canvas
(óleo y acrílico sobre tela)
45 x 59 inches (114 x 150 cm)
30
Rodríguez Amiama studied art through correspondence courses and
books. He received a scholarship to the Nidia Serra Art Center, and
later attended the National School of Fine Arts. He was influenced
by Mexican artist Martha Chapa who gave him the idea of using
everyday elements as symbols; for example, he began to paint fruit
as a symbol of Latin American love and passion. By the 1980s he
was moving into abstraction using real elements against a gestural
background of free colors and brushstrokes.
Rodríguez Amiama aprendió arte leyendo libros y realizando cursos
por correspondencia. Más tarde obtuvo una beca para estudiar en
el Centro de Arte Nidia Serra, y luego cursó en la Escuela Nacional
de Bellas Artes. Recibió influencias de la artista mexicana Martha
Chapa, quien le dio la idea de usar elementos cotidianos a modo de
símbolos; por ejemplo, Rodríguez Amiama comenzó a pintar frutas
como símbolo de la pasión y el amor latinoamericanos. En la década
de 1980 inició su acercamiento a la abstracción, colocando elementos
reales contra un fondo gestual de colores y pinceladas libres.
El mundo de las manos No.1
(The World of Hands No. 1), 1967
Oswaldo Guayasamín
Ecuador (Quito, Ecuador, 1919 - Baltimore,
Maryland, 1999)
ink on paper
(tinta sobre papel)
14 1/2 x 10 1/2 inches (37 x 27 cm)
Guayasamín’s rhetorical images capture the political oppression, racism,
poverty, and class division found in much of South America, especially
among marginalized, indigenous people. His death on March 10, 1999, was
marked by a day of national strikes by the indigenous people that he spent
his life supporting; he is still lauded as a national treasure. The “World of
Hands” reflects the pain and misery that the larger part of humanity has
endured, and denounces the violence that every human being has had to
live with in this 20th century marked by world wars, civil wars, genocide,
concentration camps, dictatorships, and tortures.
Las imágenes retóricas de Guayasamín captan la opresión política, el
racismo, la pobreza y la división en clases que se padecen en gran parte de
Sudamérica, en especial entre los pueblos marginados y los indígenas. El día
de su muerte, 10 de marzo de 1999, estuvo signado por huelgas nacionales
de los pueblos indígenas que él había apoyado durante toda su vida.
Guayasamín sigue siendo enaltecido como un tesoro nacional. El mundo de
las manos refleja el dolor y la miseria que ha soportado la mayor parte de
la humanidad, y denuncia la violencia con que convivieron todos los seres
humanos en el siglo XX, con su impronta de guerras mundiales, guerras
civiles, genocidios, campos de concentración, dictaduras y torturas.
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Lugar natal
(Native Land), 1989
Eduardo Kingman
Ecuador (Loja, Ecuador, 1913 - Quito, Ecuador,
1997)
oil on canvas
(óleo sobre tela)
40 x 53 inches (100 x 135 cm)
32
Kingman is one of the outstanding artists to emerge from a
vigorous art movement in 20th century arts in Ecuador. His works
attack personal and popular themes with strong expressiveness,
breaking with any academicism. His generation in the 1930s
erupted in a liberal revolution with new ideals in politics,
sociology, literature and art. He was the Director of Quito’s
Museum of Colonial Arts for twenty years.
Kingman es uno de los artistas más destacados que surgieron
de un vigoroso movimiento en las artes ecuatorianas del siglo
XX. Sus obras abordan temáticas personales y populares con
una fuerte expresividad, que rompe con todo academicismo. La
generación de este artista revolucionó la década de 1930 con
nuevos ideales en los ámbitos de la política, la sociología, la
literatura y el arte. Kingman dirigió el Museo de Artes Coloniales
de Quito a lo largo de veinte años.
Benjamín Cañas
El Salvador (Honduras, 1933 - Arlington, VA, USA,
1987)
pastel on paper
(pastel sobre papel)
29 1/4 x 22 inches (74 x 56 cm)
Born in Honduras, but considered a Salvadoran artist, Cañas became
known internationally for his sculptures, but he was also a renowned
architect with fine examples of structures, particularly churches, to his
credit. This Renaissance-like richly colored surrealist oil painting is from
his later period, and belongs to the series called Kafka: Letters to Milena.
Nacido en Honduras pero considerado un artista salvadoreño, Cañas
adquirió fama internacional por sus esculturas, aunque también fue un
arquitecto reconocido por sus magníficas estructuras, en particular sus
iglesias. Esta pintura al óleo, con un tema surrealista y una rica coloración
de estilo renacentista, pertenece a su último período, como parte de la serie
Kafka: Cartas a Milena.
33
Atisbando (Watching), n/d
Rodolfo Abularach
Guatemala (Guatemala, Guatemala City, 1933 - )
lithograph
(litografía)
21 1/2 x 29 3/4 inches (55 x 76 cm)
During the 1950s Abularach worked in the National Archaeology
and Ethnology Museum doing museum displays, which introduced
him to American anthropological history. In 1959 he moved
permanently to New York and encountered Zen Buddhism, then
popular in New York, thereby creating an East-West dialogue in his
work. He became famous for his enlarged images of the human eye.
The work of Abularach is a combination of the language of folklore,
magic and mysticism, and contemporary concerns.
Durante la década de 1950 Abularach trabajó en el Museo Nacional
de Arqueología y Etnografía, dedicado al armado de las vitrinas,
tarea que lo acercó a la historia antropológica americana. En 1959
se mudó a Nueva York, donde entró en contacto con el budismo zen
–por entonces de moda en aquella ciudad–, y a raíz de ello introdujo
en su obra un diálogo entre Oriente y Occidente. Entre sus trabajos
más famosos se cuentan las imágenes ampliadas de ojos humanos.
La producción de Abularach combina el lenguaje del folclore, la
magia y el misticismo con las preocupaciones contemporáneas.
34
80 mm f. 5.6 1/30 sec, 1998
Luis González Palma
Guatemala (Guatemala City, Guatemala, 1957 - )
black and white gelatin silver print with
Bitumen of Judea, ortho film, and textile
(plata sobre gelatina, kodalith betún de judea,
y tela)
39 3/8 x 78 3/4 inches (100 x 200 cm)
Luis González Palma is a modernist photographer who focuses on the
plight of the indigenous peoples of Guatemala. He studied architecture
and cinematography at the Universidad de San Carlos de Guatemala
and then turned to photography. He has participated in more than 60
exhibitions in America and Europe. His photographs are often meant to
bring psychological and cultural issues into the viewer’s mind, and he
often uses sepia tints.
Tras estudiar arquitectura y cinematografía en la Universidad de San
Carlos de Guatemala, Luis González Palma, fotógrafo modernista que
pone la lente en el sufrimiento de los pueblos indígenas de Guatemala, se
dedicó luego a la fotografía, creando obras que expuso en más de sesenta
muestras de América y Europa. Muchas de sus fotografías, en las que suele
usar tintas sepia, apuntan a situar cuestiones psicológicas y culturales en
la mente del espectador.
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Carlos Mérida
Guatemala (Guatemala, Guatemala City, 1891 Mexico City, Mexico, 1984)
ink and gouache on amate paper
(tinta y gouache sobre papel)
15 1/2 x 9 1/2 inches (39 x 24 cm)
Carlos Mérida made his home in Mexico and initiated the first
pro-Indian art movement in the Americas, seven years before the
rise of Mexican Muralism. In 1927 he abandoned his figurative
style, becoming one of Latin America’s pioneer Modernists.
His later works are closely linked to the Mayan world with its
geometric elements, and he integrated indigenous “papel amate”
(barkwood paper) into his paintings. Like Tamayo, Mérida
rejected large-scale narrative painting in favor of the more
intimate charms of easel painting.
Carlos Mérida encontró un hogar en México e inició allí el
primer movimiento artístico pro-indígena, siete años antes de
que surgiera el muralismo mexicano. En 1927 abandonó su estilo
figurativo para convertirse en uno de los modernistas pioneros
de América Latina. Sus obras más tardías se ligan estrechamente
al mundo maya, con su predominio de elementos geométricos.
Mérida integró también en sus pinturas el “papel amate” de los
indígenas mexicanos (elaborado con corteza de árboles). Al igual
que Tamayo, rechazaba la pintura narrativa en gran escala y se
inclinaba por el encanto más íntimo del caballete.
36
American Woman
(Mujer americana), 1994
Winston Strick
Guyana (New Amsterdam, Berbice, Guyana, 1942 - )
leather, PVC and wood
(cuero, plástico y madera)
33 1/16 x 11 13/16 x 1 15/16 inches
(84 x 30 x 5 cm)
Winston Strick is a painter and his current interest is the use of leather
for sculpture and wearable art. This piece was inspired by photos of artists
working in leather that were shown to him by Ms. Riva Akinshegun. His
renditions of themes drawn from mythology and struggle provide the
flashpoint for many discussions on Modernism.
Winston Strick es un pintor cuyo interés se centra actualmente en la
utilización del cuero en la escultura y en el “arte para usar”. Esta pieza fue
inspirada por unas fotos que le mostró Riva Akinshegun, en las cuales se ve
a artistas que trabajan el cuero. Las obras de Strick, que se inspiran en temas
de la mitología y de diversos conflictos, proporcionan un punto álgido para
muchos debates sobre el modernismo.
37
On The Way to the Market
(Camino al mercado), n/d
Wilson Bigaud
Haiti (Port-au-Prince, Haiti, 1931 - Petit-Goâve,
Haiti, 2010)
oil on canvas
(óleo sobre tela)
16 x 31 1/4 inches (40 x 80 cm)
38
Wilson Bigaud is one of the great masters of Haitian painting. Working
towards a mastery of color as well as an illusion of volume modeled in
light and dark, Bigaud demonstrated a mature command of his art in
the great Terrestrial Paradise (1952), painted when he was just 21 and
subsequently purchased by the Museum of Modern Art in New York. In
1951 he was one of the handful of artists chosen to execute the landmark
murals in the Episcopal Cathedral of Sainte Trinité, which were destroyed
in the recent earthquake. His genre scenes are material rather than
dreamlike, solid and respectful of the limitations of naturalism.
Wilson Bigaud es uno de los grandes maestros de la pintura haitiana.
Luego de trabajar con ahínco en procura del dominio del color, así como
de una ilusión de volumen modelada por la luz y la oscuridad, Bigaud
demostró un maduro manejo de este arte en el gran Paraíso terrenal
(1952), obra que pintó cuando tenía 21 años y que sería adquirida más
tarde por el Museo de Arte Moderno de Nueva York. En 1951, Bigaud
fue uno de los pocos artistas elegidos para realizar los emblemáticos
murales de la Catedral Episcopal de Sainte Trinité, que sucumbieron en
el reciente terremoto que asoló a Haití. Sus escenas de este género son
más sustanciales que oníricas, además de sólidas y respetuosas de las
limitaciones que impone el naturalismo.
.
Haitian Landscape
(Paisaje haitiano), 1970
Joseph Jean-Gilles
Haiti (Hinche, Haiti, 1943 - )
oil on canvas
(óleo sobre tela)
19 1/2 x 23 1/2 inches (50 x 60 cm)
Joseph Jean-Gilles, whose subjects are based on the myriad flowering
forms and rolling hills of Haiti’s tropical landscape, depicts the scenes of
his homeland as a poet might compose an idyll in the Garden of Eden.
Jean-Gilles is not alone among Haitian artists in pursuing this theme, but
he is almost unique in pursuing it for so many years. This is the painting
of an artist who, through the perfection of his craft, has grown away
from those spontaneous reactions and improvisations that are hallmarks
of the visionary artist.
Inspirándose en la miríada de formas florecientes y de suaves
ondulaciones del trópico haitiano, Joseph Jean-Gilles retrata las escenas
de su tierra natal a la manera de un poeta que compone un idilio sobre
el Jardín del Edén. Jean-Gilles no es el único artista haitiano que aborda
este tema, pero casi ningún otro ha persistido como él en desarrollarlo
a lo largo de tantos años. He aquí la pintura de un creador que, en pos
de perfeccionar su arte, fue alejándose de las improvisaciones y las
reacciones espontáneas que son el sello distintivo del artista visionario.
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Ceremoni Grand Bois
(Great Forest Ceremony,
Ceremonia Gran Bosque), c. 1996
Yves Telemak
Haiti (Port-au-Prince, 1960 - )
sequin and bead appliqué on cloth
(lentejuelas y cuentas sobre tela)
31 x 31 inches (79 x 79 cm)
Yves Telemak is Haiti’s preeminent living vévé flag artist, and was
among the first flag makers to sign his work. Yves learned the
ritual context of the flags, and later secularized the flags, setting
high conceptual and technical standards for their production,
and defining them as a uniquely Haitian fine art form. Telemak’s
distinctive wide, colorful, geometric borders frame central panel
scenes of bold dramatizations of the Vodou gods, Haitian cultural
history and his own biographical experience.
Yves Telemak, principal artista haitiano que se dedica en la
actualidad al arte de las banderas “vévé”, derivadas del vudú, fue
uno de los primeros en firmar estas composiciones. Luego de
interiorizarse del contexto ritual de las banderas, las secularizó,
estableciendo para su producción un alto estándar conceptual
y técnico. También definió este género como una forma
exclusivamente haitiana de las bellas artes. Los característicos
bordes anchos, coloridos y geométricos de Telemak enmarcan
viñetas con audaces dramatizaciones de los dioses del vudú, la
historia cultural haitiana y su propia experiencia biográfica.
40
Espacios interiores
(Interior Spaces), 2000
Byron Lombardo Mejía
Honduras
oil on canvas
(óleo sobre tela)
33 1/4 x 41 5/8 inches (85 x 106 cm)
Byron Lombardo Mejía represents one of the new facets of Honduran art. This
painting forms part of a series of paintings whose lugubrious atmosphere
responds to another type of tragedy, that of the human condition. They also
allude to a more millenarian type of catastrophe: a faded civilization effaced
perhaps by its own arrogance, by blindness to its own errors, and now become
an artifice of its own extinction. The humanist feeling confers on the images
of both canvases symbolic and dramatic connotations. The appearance of the
figures corresponds to the irrationality that characterizes man’s daily behavior,
which ignores the most elemental laws of decency and co-existence.
Byron Lombardo Mejía es representante de una de las nuevas facetas del arte
hondureño. Esta pintura forma parte de una serie cuya atmósfera lóbrega refleja
la tragedia por excelencia: la de la condición humana. También alude a una
catástrofe milenaria: una civilización desvaída, borrada quizá por su arrogancia,
por la ceguera o por sus propios errores, que ahora se vuelve un artificio de su
propia extinción. El sentimiento humanista confiere connotaciones simbólicas
y dramáticas a las imágenes de ambas telas. La apariencia de las figuras se
corresponde con la irracionalidad cotidiana de los seres humanos, que pasa por
alto las más elementales normas de la decencia y la coexistencia.
41
Untitled (Sin título), n/d
David Boxer
Jamaica (St. Andrew, Jamaica, 1946 - )
oil on canvas
(óleo sobre tela)
23 1/2 x 17 1/4 inches (60 x 44 cm)
Although Boxer was essentially self-taught as an artist, he developed
a coherent but continuously evolving iconography consisting of
complex and often highly personal metaphors that commented on
the human condition and the anguish of modern existence. Although
he also produced non-figurative works, he usually concentrated on
the human figure. He often worked with images appropriated from
myth, religion, music, history, archaeology and art history.
Si bien David Boxer fue esencialmente un artista autodidacta, supo
desarrollar una iconografía coherente pero en continua evolución,
conformada por metáforas complejas y a menudo muy personales,
que toman posición frente a la condición humana y a la angustia
de la existencia moderna. Aunque también produjo obras no
figurativas, Boxer prefería concentrarse en la figura humana. Trabajó
abundantemente con imágenes apropiadas del mito, la religión, la
música, la historia, la arqueología y la historia del arte.
42
Salute (Saludo), 2009
Gerard Hanson
Jamaica (West Yorkshire, UK, 1971 - )
archival inkjet and acrylic paint on canvas
(impresión con inyección de tinta,
acrílico sobre lienzo)
24 15/16 x 26 1/8 inches (63 x 66 cm)
A British painter of Jamaican descent, Hanson now calls the island his
home, having relocated to Jamaica in 2009 and pursuing a full-time career
as an artist since then. Jamaica: Home From Home is a collection of
images of life in his new home, as seen from his memory, through his eyes
and conveyed on canvas.
Pintor británico descendiente de jamaiquinos, Gerard Hanson ha
encontrado su lugar en la isla de sus antepasados. En 2009 se mudó a
Jamaica, donde desde entonces se dedica de lleno al arte. Jamaica: Home
from Home es una colección de imágenes de la vida que transcurre en su
nuevo hogar, tal como Hanson las ve desde su memoria, a través de sus
propios ojos, para reflejarlas luego en la tela.
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Three Actors
(Tres actores), c. 1875
Toyohara Kunichika
Japan (Kyobashi district, Japan, 1835 - Honjo,
Japan, 1900)
color woodcut
(grabado a color)
14 x 9 1/4 inches (36 x 24 cm)
44
Kunichika was one of the old-style artists of ukiyo-e, a style of
Japanese woodblock printing. His name is a combination derived
from the names of his two masters - Kunisada and Chikanobu.
He is known primarily as a designer of actor prints since one
of his passions was Kabuki, Japanese theater. He was a regular
backstage visitor where he spent hours making sketches of actors.
Kunichika fue uno de los artistas del ukiyo-e al viejo estilo, un
tipo de grabado japonés. El seudónimo Kunichika surgió de la
combinación de los nombres de sus dos maestros: Kunisada
y Chikanobu. Se lo conoce principalmente por sus estampas
de actores, ya que una de sus pasiones era el Kabuki, el teatro
japonés. Solía vérselo con frecuencia tras las bambalinas, donde
pasaba largas horas haciendo bocetos de los actores.
Aggregation 98-S72
(Agrupación 98-S72), 1995-2004
Kwang-Young Chun
Korea (Hongchun, Kangwon, Korea, 1944 - )
mixed media with Korean mulberry paper
(técnica mixta con papel coreano mulberry)
43 11/16 x 79 1/8 inches (111 x 201 cm)
Korean paper possesses an unsophisticated and sturdy character. This piece
is a simple structure yet subtlety flows over the front of the screen due to
embossed carving on a cubic plane. Through an awakening of sentiment
that crosses beyond time, the real meaning of this work can be understood:
his work leads us to a meditation on the matter of spirit in modern painting.
El papel coreano tiene un tramado macizo y rústico. Esta pieza, si bien
de estructura simple, fluye sutilmente por delante de la pantalla gracias
al tallado en relieve sobre un plano cúbico. El significado de la obra de
Kwang-Young Chun puede entenderse al despertar el sentimiento que
trasciende el tiempo: contemplarla nos lleva a meditar sobre la materia del
espíritu en la pintura moderna.
45
Volcán (Volcano), c. 1930
Dr. Atl (Gerardo Murillo)
Mexico (Guadalajara, Mexico, 1875 - Mexico City,
Mexico, 1964)
graphite stencil on paper
(fotoserigrafía sobre papel)
8 3/4 x 9 3/4 inches (22 x 25 cm)
46
Dr. Atl (aka Gerardo Murillo) was a Mexican painter, printmaker, and
politician. His pseudonym, which signifies ‘water’ in Náhuatl was
adopted in 1902. He joined the revolutionary movement, taking an
active role in its various activities, including the muralist movement,
through which he was associated with Diego Rivera, José Clemente
Orozco and David Alfaro Siqueiros. Although he practiced portrait
painting, his passion was for landscape in a variety of techniques
and materials, some of them invented by him; for example, he used
‘atlcolours’, which were specialized crayons made of wax, resins and
pigment with which he could obtain textures not possible with oil paint.
Dr. Atl (alias de Gerardo Murillo) fue un pintor, grabador, escritor
y político mexicano. En 1902 adoptó su seudónimo, que significa
“agua” en lengua náhuatl. Se sumó al movimiento revolucionario
asumiendo un rol activo en sus diversas actividades, incluido el
muralismo, a través del cual se vinculó a Diego Rivera, José Clemente
Orozco y David Alfaro Siqueiros. Aunque también hacía retratos,
lo apasionaba pintar paisajes con una gran diversidad de técnicas
y materiales, algunos inventados por él; por ejemplo, usaba los Atl
colours, crayones especiales elaborados con cera, resinas y pigmento,
mediante los cuales obtenía texturas imposibles de lograr con óleos.
Zapata, 1932
Diego Rivera
Mexico (Guanajuato, Mexico, 1886 - Mexico
City, Mexico, 1957)
Lithograph (85/100)
(litografía 85/100)
19 3/4 x 15 inches (50 x 38 cm)
It was not until he began to study the Renaissance frescoes of Italy that
Rivera found his medium. It was with a vision of the future of the fresco
and with a strong belief in public art that Rivera returned to Mexico.
Using the fresco form in universities and other public buildings, Rivera
was able to introduce his work into the everyday lives of the people.
Rivera concerned himself primarily with the physical process of human
development and the effects of technological progress. For him, the fresco
size and public accessibility were the perfect canvas on which to tackle the
grand themes of the history and future of humanity.
Diego Rivera encontró el medio de expresar su arte cuando comenzó
a estudiar los frescos renacentistas de Italia. Retornó a México
vislumbrando un futuro para el fresco y con una fuerte creencia en el arte
público. Aplicando la forma del fresco a las universidades y otros edificios
públicos, Rivera logró introducir su obra en la vida cotidiana del pueblo.
Su mayor interés radicaba en el proceso físico del desarrollo humano y en
los efectos del progreso tecnológico. El tamaño y la accesibilidad pública
del fresco constituían para él la tela perfecta sobre la cual se podían
abordar los grandes temas de la historia y del futuro de la humanidad.
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Zapata, 1930
David Alfaro Siqueiros
Mexico (Santa Rosalía de Camargo, Mexico,
1896 - Cuernavaca, Mexico, 1974)
lithograph (7/35)
(litografía 7/35)
28 3/4 x 22 7/8 inches (73 x 58 cm)
David Alfaro Siqueiros was very active in the organizing of Mexico’s
labor forces, and his political activism resulted in many deportations
and years in jail. It was in jail where he created most of his easel works.
He incorporated many new materials and techniques, and was the first
artist to use acrylics as a painting media. The distinctive “Siqueiros
three-dimensional” perspective is unmistakable. This well known
lithograph pays homage to one of the quintessential symbols of the
Mexican Revolution, Emiliano Zapata, who came to personify the ideals
of social inclusion and economic equity among the less privileged.
David Alfaro Siqueiros militó en la organización del movimiento obrero
mexicano, activismo político que le costó deportaciones y años de cárcel:
la mayoría de sus trabajos de caballete los creó mientras se hallaba en
prisión. En su obra incorporó muchos nuevos materiales y técnicas,
y fue el primer artista en usar acrílicos como recurso para pintar. La
perspectiva tridimensional de Siqueiros es su inconfundible impronta
distintiva. Esta famosa litografía rinde homenaje a uno de los símbolos
por antonomasia de la revolución mexicana, Emiliano Zapata, quien
llegó a personificar los ideales de inclusión social y equidad económica
entre los menos favorecidos.
48
A Man With Courage Makes a Majority
(Un hombre con coraje crea la
mayoría), 1982
Rufino Tamayo
Mexico (Oaxaca, Mexico, 1899 - Mexico City,
Mexico, 1991)
mixograph (mixografía)
32 x 24 inches (81 x 61 cm)
Rufino Tamayo believed that the advances made by European artists could
be used to reinterpret local traditions, such as pre-Columbian and popular
art. Like other contemporaries, he found similarities between Cubism and
pre-Columbian symbolic and religious composition. Tamayo employed all
these devices with great originality, enhanced by an extraordinary use of
color and texture. His work carries a quintessential awareness of man as
both an insignificant particle and a protagonist linked to the destiny of the
universe.
Rufino Tamayo se propuso aprovechar los avances de los artistas europeos
para reinterpretar las tradiciones locales, como el arte precolombino y
popular. Al igual que otros contemporáneos, halló similitudes entre el
cubismo y la composición precolombina, con su simbolismo y sus temas
religiosos. Tamayo empleó todos estos recursos con gran originalidad,
realzada por un manejo extraordinario del color y de la textura. Su obra
está dotada de una conciencia arquetípica del ser humano como partícula
insignificante y a la vez protagonista ligado al destino del universo.
49
Paisaje gris
(Grey Landscape), 1977
Alejandro Aróstegui
Nicaragua (Bluefields, Nicaragua, 1935 - )
mixed media
(técnica mixta)
31 7/8 x 47 7/8 inches (81 x 122 cm)
One of the leading Nicaraguan painters and a cultural icon, he has
been exhibited and honored worldwide. He spent several years in
New York and was a co-founder of the Praxis Group of young artists
and intellectuals, as well as the art gallery and magazine of the same
name. He introduced non-traditional elements into his painting, and
reflected Nicaragua ´s turbulent decades in his work. He became
director of the School of Fine Arts, University of León in 1972, and
later served as director of the School of Plastic Arts in Managua.
Destacado pintor e ícono cultural nicaragüense, Alejandro Aróstegui
expuso sus obras y recibió honores en todo el mundo. Pasó varios
años en Nueva York, donde fue cofundador del Praxis Group,
formado por jóvenes artistas e intelectuales, y también de la galería
y la revista del mismo nombre. Introdujo elementos no tradicionales
en sus pinturas, en las cuales reflejó las décadas turbulentas de
Nicaragua. En 1972 fue nombrado director de la Escuela de Bellas
Artes, en la Universidad de León, y más tarde se desempeñó como
director de la Escuela de Artes Plásticas de Managua.
50
Omar D’Leon
Nicaragua (Managua, Nicaragua, 1929 - )
oil on canvas
(óleo sobre tela)
28 3/4 x 36 1/2 inches (73 x 93 cm)
D’Leon is one of Nicaragua’s most important artists, and he is also a
prolific and exhuberant poet. He attended the School of Fine Arts, and
belonged to a group of artists that sought to express their Nicaraguan
identity through a contemporary visual language. D’Leon has been in
group and solo exhibitions throughout the United States, Europe and
Latin America. He lives in California, and is known for works that
aspire to transcend the limitations of time and space.
D’Leon es uno de los artistas más importantes de Nicaragua, además
de poeta exuberante y prolífico. Asistió a la Escuela de Bellas Artes
y perteneció a un grupo de creadores que bregaban por expresar su
identidad nicaragüense a través de un lenguaje visual contemporáneo.
D’Leon participó en exposiciones individuales y grupales en Estados
Unidos, Europa y América latina. Actualmente vive en California y
se destaca por sus obras, que aspiran a trascender las limitaciones del
tiempo y el espacio.
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Armando Morales
Nicaragua (Granada, Nicaragua, 1927 - Miami,
FL, USA, 2011)
lithograph (13/14)
(litografía 13/14)
25 3/4 x 19 3/4 inches (65 x 50 cm)
Morales painted from an early age but not seriously until he began to
win awards in the 1950s and his works were acquired by museums. By
the 1970s he was painting lush and sensual fruits, heavy and voluptuous
apples and pears that evoked the softness of human skin, from which
there was the obvious transition to the painting of nudes. In 1993, he
completed a portfolio of lithographs entitled The Saga of Sandino at
the workshop of Artegraficas Limitadas, S.A. in Mexico City. Sandino
was a Nicaraguan national hero whom Morales remembered seeing in
Managua during his childhood.
Armando Morales pintaba desde su más tierna infancia, pero no lo hizo
seriamente hasta que ganó sus primeros premios, en la década de 1950, y
los museos comenzaron a adquirir sus obras. En los años setenta se dedicó
a pintar frutas exuberantes y sensuales: pesadas y voluptuosas manzanas
y peras, que evocaban la suavidad de la piel humana. Este trabajo con
frutas lo fue llevando poco a poco, en una transición casi inevitable, hacia
la pintura de desnudos. En 1993 completó una serie de litografías titulada
La saga de Sandino, en el taller de Artegrafías Limitadas del Distrito
Federal. Fue su modo de rendir homenaje al héroe nacional nicaragüense,
a quien recordaba haber visto en Managua cuando era niño.
52
Figurina (Figurine), 1982
Julio Zachrisson
Panama (Panama City, Panama, 1930 -)
ink and tempera on paper
(tinta y témpera sobre papel)
39 3/8 x 27 3/16 inches (100 x 69 cm)
From 1953 to 1959 Zachrisson studied at the Fine Arts Institute in Mexico,
where he had his first exhibitions, and then traveled to Europe, where
he studied at the Pietro Vanucci Academy in Peruggia, Italy. In 1961
Zachrisson moved to Spain where he still lives and works. His work can
be found in prestigious institutions such as the Metropolitan Museum
of Modern Art in New York, the Smithsonian Institution, and the Museo
de Arte Contemporáneo in Madrid, Spain. He is considered the most
important Panamanian printmaker.
De 1953 a 1959, Julio Zachrisson estudió en el Instituto de Bellas Artes de
México, donde realizó sus primeras exposiciones, y luego viajó a Europa
para estudiar en la Academia Pietro Vanucci, en Peruggia, Italia. En 1961 se
mudó a España, donde aún vive y trabaja. Su obra se exhibe en prestigiosas
instituciones, como el Museo Metropolitano de Arte Moderno, en Nueva
York, el Instituto Smithsonian y el Museo de Arte Contemporáneo de
Madrid, España. Está considerado uno de los más importantes grabadores
panameños.
53
La curandera
(The Healer), 1993
Enrique Collar
Paraguay (Itauguá Guazú, Paraguay, 1964 - )
oil on canvas
(óleo sobre tela)
48 1/2 x 54 inches (123 x 137 cm)
Artist Statement: “I have been painting the myths and popular
legends of my country, Paraguay, as well as those of South America,
for over ten years now. During this time the combination of different
disciplines such as drawing, photography and cinema concepts deeply
influenced my paintings. Drawing gave me the freedom to represent
multiple figures in a pictorial space. Photography gave me spontaneous
perception to capture their psychological momentum. Cinema concepts
helped me consolidate my pictorial narrative and understand the
relationship of time and space.”
Declaración del artista: “Hace más de diez años que pinto los mitos y las
leyendas populares de mi país, Paraguay, y también otros de Sudamérica.
Durante este tiempo, la combinación de diferentes disciplinas, como
el dibujo, la fotografía y los conceptos de la cinematografía, influyó
profundamente en mis pinturas. El dibujo aportó organización y
estructura a mi trabajo, así como la libertad para representar múltiples
figuras en un espacio pictórico. La fotografía me brindó la percepción
natural de los personajes y también me permitió captar su pulsión
psicológica. Las nociones de cinematografía me ayudaron a consolidar mi
narrativa pictórica y a comprender la relación entre tiempo y espacio”.
54
Serie Paraguay
(Paraguay Series), n/d
Carlos Colombino
Paraguay (Concepcion, Paraguay, 1937 - )
oil on wood
(óleo sobre madera)
51 x 48 1/2 inches (130 x 123 cm)
Painter and engraver, Carlos Colombino’s training in architecture had a
considerable influence on his painting style, but he is basically self-taught as
an artist. After the 1950s, when he went through an initial phase that oscillated
between a wildly dramatic style and one that favored formal organization, he
settled on a more stable personal style in the 1960s. His most frequently used
technique was xylopintura, involving the use of wood-engraving tools to cut
into plywood; the layers and the end- and cross-grain absorbed dyes and paints
in different ways, and an image emerged from the process.
Si bien los estudios de arquitectura ejercieron una considerable influencia
en su pintura, el pintor y grabador Carlos Colombino es esencialmente
autodidacta. En la década de 1950 atravesó una fase inicial que oscilaba
entre una tendencia furiosamente dramática y una búsqueda de
organización formal, después de la cual, ya en los años sesenta, encontró
un estilo personal más estable. Su técnica predilecta ha sido la xilopintura,
que consiste en tallar la matriz con los instrumentos de xilograbado y
utilizarla como base para realizar la obra directamente sobre ella. El
grano irregular resultante absorbe en diferente grado las tintas y pinturas,
proceso en el cual va surgiendo una imagen particular.
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Duino-Nueve Orrantia/92, 1992
Fernando de Szyszlo
Peru (Barranco, Lima, Peru, 1925 -)
oil on canvas
(óleo sobre tela)
39 x 39 inches (99 x 99 cm)
Fernando de Szyszlo was a key figure in advancing abstract art in
Latin America in the mid- 1950s. At age 24 he traveled to Europe
where he studied the works of the masters, and absorbed the varied
influences of cubism, surrealism, informalism and abstraction.
While in Paris he met Octavio Paz and Andre Breton and engaged in
vigorous discussions on the international modern movement and their
Latin American cultural identity. In Peru, Szyszlo became a major
force for artistic renewal in his country, breaking new ground by
expressing Peruvian subject matter in a non-representational style.
Fernando de Szyszlo fue una figura decisiva en el desarrollo del arte
abstracto latinoamericano a mediados de la década de 1950. A los
24 años de edad viajó a Europa para estudiar la obra de los grandes
maestros. Allí absorbió las influencias del cubismo, el surrealismo,
el informalismo y la abstracción. Mientras estaba en París conoció a
Octavio Paz y André Breton, y se planteaban enérgicas discusiones
acerca del movimiento moderno internacional y la identidad cultural
latinoamericana. En Perú Szyszlo pasó a ser un protagonista clave
en la renovación artística de su país, al sentar nuevas bases para la
expresión de temas peruanos en un estilo no representativo.
56
Dos (Two), 2003
Carlos Runcie Tanaka
Peru (Lima, Peru, 1958 - )
lithograph on paper (21/39)
19 ¾ x 27 ½ inches (50 x 70 cm)
Carlos Runcie Tanaka was born of mixed Japanese and European ancestry.
He began studying pottery at El Pingüino workshop in Lima in 1977. In
1979 he was invited by the Japanese master potter Tsukimore Masahiko to
serve as his apprentice in Ogaya, and was subsequently a guest assistant
to Shimaoka Tatsuzo in Mashiko. Returning to Peru in 1980, Tanaka was
technical advisor for Cerámica Izcuchaca Pottery, and then studied in
Florence, Italy, with a grant from the Organization of American States
(OAS). Another OAS grant enabled him to study crafts design in Brazil. His
installations incorporate sand, stone, water, glass, light, and other elements.
Carlos Runcie Tanaka desciende de japoneses y europeos. Se inició en las artes
estudiando alfarería en el taller limeño El Pingüino, en 1977. En 1979 fue
invitado por el maestro alfarero japonés Tsukimore Masahiko a desempeñarse
como aprendiz en su taller de Ogaya, y más tarde fue también asistente
invitado en el estudio de Shimaoka Tatsuzo, en Mashiko. A su regreso a Perú,
en 1980, Tanaka fue asesor técnico de Cerámica Izcuchaca, y luego estudió en
Florencia, Italia, con una beca de la Organización de los Estados Americanos
(OEA). Otra beca de la OEA le permitió estudiar diseño artesanal en Brasil. Las
instalaciones de Tanaka incorporan arena, piedra, agua, vidrio y luz, entre otros
elementos.
57
El Señor de la Fortaleza
(The Lord of Our Strength), 1919
José Sabogal
Peru (Lima, Peru, 1888 - Lima, Peru, 1956)
oil on canvas
(óleo sobre tela)
22 x 26 inches (56 x 66 cm)
José Sabogal is one of the precursors and most important
representatives of Indigenism, an artistic style that developed in the
1920s mainly in the Andean countries as a response to the success
of Mexican Muralism. From 1922 to 1925, Sabogal actually studied
with Diego Rivera and José Clemente Orozco. Indigenist art was
intended to return a sense of dignity to the indigenous populations,
whose history had been denigrated by European colonists. As an
artistic movement, however, it is more literary than conceptual.
José Sabogal es uno de los precursores y principales representantes
del indigenismo, un estilo artístico desarrollado en la década de 1920,
principalmente en los países andinos, como respuesta al éxito del
muralismo mexicano. De 1922 a 1925, Sabogal estudió directamente
con Diego Rivera y José Clemente Orozco. El arte indigenista se
proponía devolverles el sentido de la dignidad a las poblaciones
originarias del continente, cuya historia había sido denigrada por los
colonizadores europeos. Como movimiento artístico, sin embargo, el
indigenismo es más literario que conceptual.
58
Lanzón (Spear), 1993
Venancio Shinki Huamán
Peru (Barranca, Paramonga, Peru, 1932 - )
engraving on paper (39/60)
(grabado sobre papel)
24 x 21 inches (61 x 53 cm)
Shinki Huamán was born to a Japanese father and a Peruvian mother.
His work was inspired partly by travels through Ecuador, Mexico and
Peru, but in its symbolism it also reflected his admiration for the works
of Bosch, El Greco, Klee and Miró. Its subtle range of tones and textures
and its undefined forms also expressed elements of his Japanese heritage.
In the 1960s Shinki Huamán began to explore further the use of tone
as a means of conveying space, while figurative elements reflected the
Surrealist interest in the subconscious.
Shinki Huamán nació de madre peruana y padre japonés. Su obra,
inspirada en sus viajes por Ecuador, México y Perú, está dotada de un
simbolismo que refleja también la admiración del autor por Bosch, El
Greco, Klee y Miró. El sutil abanico de tonos y texturas que se aprecia
en los trabajos de este artista, así como sus formas indefinidas, ponen
de manifiesto, además, elementos de su herencia japonesa. En la década
de 1960, Shinki Huamán comenzó a explorar más profundamente el uso
del tono como medio de expresar el espacio, en tanto que los elementos
figurativos representan su interés surrealista por el inconsciente.
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Calvet Chair
(Silla Calvet), 1966
Antoni Gaudí
Spain (Reus, Spain, 1852 - Barcelona, Spain,
1926)
oak (madera de roble)
37 x 20 ½ x 23 ¼ inches (94 x 52 x 59 cm)
The son of a coppersmith, Antoni Gaudí studied at the Escola
Superior d’Arquitectura in Barcelona and designed his first major
commission for the Casa Vincens in Barcelona using a Gothic
Revival style that set a precedent for his future work. Over
the course of his career, Gaudí developed a sensuous, curving,
almost surreal design style that established him as the innovative
leader of the Spanish Art Nouveau movement. With little regard
for formal order, he juxtaposed unrelated systems and altered
established visual order.
Hijo de un artesano del cobre, Antoni Gaudí estudió en la Escola
Superior d’Arquitectura de Barcelona y realizó su encargo más
importante para la Casa Vincens de esa ciudad, desplegando una
renovación del gótico que sentó el precedente definitivo para su
futura obra. A lo largo de su carrera, Gaudí desarrolló un estilo
de diseño sensual, curvilíneo, casi surrealista, que lo eternizó
como el líder más innovador del art nouveau español. Quitando
importancia al orden formal, yuxtaponía sistemas desvinculados
alterando la perspectiva visual.
60
I Miss You
(Te extraño)
George Struikelblok
Suriname (Paramaribo, Suriname, 1973 - )
oil and acrylic on canvas
(óleo y acrílico sobre tela)
82 11/16 x 59 1/16 inches (210 x 150 cm)
Struikelblok is member of the newest generation of Surinamese painters.
With this painting he pays tribute to his father, who died when he was still
a toddler and whose absence has been transformed into the ever-present
feeling of a person he had no chance to know. The foggy, upside-down
shadow of the figure that appears in the right section of the painting evokes
whatever memory remains in the artist’s unconscious, and represents the
emotions of permanent loss. In this painting, the artist makes use of abstract
pictorial gestures, and combines them within a personal, expressionistic
manner.
George Struikelblok, integrante de la novísima generación de pintores
surinameses, rinde homenaje con esta obra a su padre, quien murió
cuando él aún no había aprendido a hablar y cuya ausencia se transformó
en la sensación siempre presente de esa persona que nunca se tendrá
oportunidad de conocer. La sombra nebulosa e invertida de la figura
que aparece en la parte derecha de la pintura evoca los recuerdos que
permanecen en el inconsciente del artista, y representa, a la vez, las
emociones de la pérdida irremediable. En esta pieza, Struikelblok hace
uso de gestos pictóricos abstractos y los combina a su manera personal y
expresionista.
61
About Balance
(Acerca de balance), 1999
Christopher Cozier
Trinidad and Tobago
(Port of Spain, Trinidad and Tobago, 1959 -)
serigraph on paper
(serigrafía sobre papel)
26 ¾ x 37¼ inches (68 x 95 cm)
62
Christopher Cozier lives and works in Trinidad as a writer and an
artist. His writing on Caribbean art has been published in journals
in both North and South America. Cozier’s work in mixed media
involves video and live performance, and installations include
drawings, constructions, and appropriated objects. Cozier’s more
recent shows presented a series of large mixed media drawings
treating issues of migration and development.
Christopher Cozier vive en Trinidad, donde se desempeña como
escritor y artista. Sus escritos sobre el arte caribeño han sido
publicados en diversas revistas de América del Norte y América del
Sur. Su trabajo en medios mixtos incluye video y performances en
vivo, y las instalaciones abarcan dibujos, construcciones y objetos
apropiados por el artista. En las muestras más recientes, Cozier
presentó una serie de obras que abordan los problemas de la
migración y el desarrollo.
Free South Africa
(Sudáfrica libre), 1985
Keith Haring
United States (Reading, PA, USA, 1958 New York, USA, 1990)
lithograph on paper (15/60)
(litografía sobre papel 15/60)
40 x 32 inches (101 x 81 cm)
His original approach was apparent in graffiti-inspired symbols expanded
into large-scale designs of generative energy. At the height of the Punk
Rock movement in the late 1970s he participated in the lively New
York club scene, working with such street artists as ‘Samo’ (Jean-Michel
Basquiat, b 1960). In the summer of 1980 he took up drawing, inventing
intricate cartoon-style murals of mutant figures locked in hyper-physical
engagement. He was a meteoric star in American art during the 1980s,
and his work became a symbol of the tribal undercurrents that permeate
metropolitan life.
Haring se reveló la originalidad de sus símbolos, inspirados en grafitis y
ampliados a diseños en gran escala. Durante el auge del punk rock, a fines
de los setenta, participó en la escena nocturna de los clubes neoyorkinos.
En esa época trabajó con artistas callejeros, como el célebre “Samo”
(Jean-Michel Basquiat). En el verano de 1980 se abocó al dibujo, creando
intrincados murales de figuras mutantes enzarzadas en combates híperfísicos. Fue una estrella meteórica del arte estadounidense en la década de
1980. Su obra se convirtió en símbolo de las contracorrientes tribales que
habitan las metrópolis.
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Emiliano Zapata and Diego Bolivar,
Our Grandchildren
(Emiliano Zapata y Diego Bolívar,
nuestros nietos), 1997
Mauricio Lasansky
United States (Buenos Aires, Argentina, 1914 Iowa City, Iowa, USA, 2012)
intaglio on paper 60/70
(grabado sobre papel 60/70)
64 1/2 x 40 inches (164 x 102 cm)
64
Mauricio Lasansky won a Guggenheim Fellowship to travel to the
USA in 1943 and spent his time at the Metropolitan Museum in
New York studying collections of contemporary and Old Master
prints. Upon the renewal of his grant he worked at S. W. Hayter’s
Atelier 17, devoting himself to improving his technique in intaglio
printing. In 1945, he was appointed lecturer in printmaking at the
University of Iowa in Iowa City, where he sought to perpetuate
the tradition of the Renaissance workshop.
Mauricio Lasansky ganó en 1943 una beca Guggenheim para
viajar a Estados Unidos, donde pasó largo tiempo en el Museo
Metropolitano de Nueva York estudiando colecciones de maestros
del grabado, tanto antiguos como contemporáneos. Cuando se le
renovó la beca trabajaba en el Atelier 17, de Stanley W. Hayter,
con el propósito de mejorar su técnica de grabado en intaglio.
En 1945 fue nombrado profesor de grabado en la Universidad
de Iowa, donde bregó por perpetuar la tradición del taller
renacentista.
Bicentennial Print
(Grabado bicentenario), 1975
Roy Lichtenstein
United States (New York, USA, 1923 - New York,
USA, 1997)
lithograph on paper
30 x 23 inches (76 x 58 cm)
From his studio in New York, Roy Lichtenstein created cartoon-inspired
paintings that helped launch the Pop Art movement. He incorporated many
late 20th century movements and addressed a number of social issues.
Although Lichtenstein’s pop paintings had popular acceptance, he began to
work in a static abstract expressionist style in the mid 1960s. In the 1990s, he
created large-scale abstract interiors, and worked in ceramics and enameled
steel. Throughout his career, he appeared in documentary films and created
posters, including Bill Clinton’s United States presidential campaign.
En su estudio de Nueva York, Roy Lichtenstein creó pinturas inspiradas en
historietas que contribuyeron a lanzar el arte pop. Incorporó numerosos
movimientos del siglo XX y abordó diversas cuestiones sociales. Aunque sus
pinturas pop tenían gran aceptación popular, Lichtenstein comenzó a trabajar
en un estilo expresionista abstracto a mediados de los años sesenta. Durante
la década de 1990 produjo interiores abstractos en gran escala y trabajó con
cerámica y acero esmaltado. A lo largo de su carrera también apareció en
filmes documentales y creó afiches, incluido el de la campaña presidencial de
Bill Clinton.
65
Mother and Child
(Madre e hijo), 1986
Andy Warhol
United States (Pittsburgh, PA, 1928 New York, NY, 1987)
screenprint on paper, AP (4/50)
(grabado sobre papel, PA 4/50)
36 x 36 inches (91 x 91 cm)
Appropriating images from popular culture, Warhol created
many paintings that remain icons of 20th century art, such as the
Campbell’s Soup Cans, Disasters and Marilyns. At the start of the
1970s, Warhol began publishing Interview magazine and renewed
his focus on painting. Works created in this decade include Maos,
Skulls, Hammer and Sickles, Torsos and Shadows and many
commissioned portraits. In 1989, the Museum of Modern Art in
New York had a major retrospective of his works. The Andy Warhol
Museum opened in Pittsburgh, Pennsylvania, in May 1994.
Apropiándose de imágenes de la cultura popular, Andy Warhol
produjo numerosas pinturas que continúan siendo íconos del
siglo XX, como las latas de Sopa Campbell, los Desastres y las
Marilyns. A comienzos de los setenta, Warhol comenzó a publicar
la revista Interview y renovó su foco en la pintura. Entre las obras
creadas durante esa década se cuentan las series Mao, Calaveras,
Hoz y Martillo, así como muchos retratos por encargo. En 1989, el
Museo de Arte de Nueva York realizó una importante exposición
retrospectiva de sus obras. En mayo de 1994 se inauguró en
Pittsburgh, Pennsylvania, el Museo Andy Warhol.
66
Estancia con Ombú
(Ranch with Ombú Tree), 2006
Jorge Damiani
Uruguay (Nervi, Italy, 1931 - )
acrylic on canvas
(acrílico sobre tela)
27 9/16 x 39 3/8 inches (70 x 100 cm)
Son of the baritone Víctor Damián, Damiani moved to Montevideo
as an infant with his family. He returned to Europe to study at the
Brera Academy in Milan in the 1950s, and received two Guggenheim
scholarships to study in New York City. His first real exhibition was
held in Montevideo in 1963. Since then his works have been included
in numerous exhibitions, culminating with a retrospective in the
Municipal Hall, 1991.
Hijo del barítono Víctor Damián, Jorge Damiani se estableció con su
familia en Montevideo cuando era niño aún. Regresó a Europa para
estudiar en la Academia Brera, en Milán, durante la década de 1950,
y recibió dos becas Guggenheim para estudiar en Nueva York. Su
primera exposición verdadera se realizó en Montevideo, en 1963, y
desde entonces sus obras fueron incluidas en numerosas exposiciones,
que culminaron en la gran retrospectiva del Salón Municipal de
Montevideo, en 1991.
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Idilio campero
(Idyllic Countryside), c. 1935
Pedro Figari
Uruguay (Montevideo, Uruguay, 1861 Montevideo, Uruguay, 1938)
oil on board
(óleo sobre cartón)
13 ¼ x 19 ¾ inches (34 x 50 cm)
During Figari’s youth his family spent time at a farm in what now
is downtown Tres Cruces, with a shore on the bay, which was later
filled and urbanized. In this almost rural area Figari had views of
society that were later the subjects of his paintings: Afro-American
communities, army barracks, and slums. For a time he painted mostly
landscapes, often nocturnes, without human figures. Around 1919, his
pictorial maturity began when he painted almost exclusively on straw
colored cardboard that always appears between brushstrokes.
Durante su juventud, Pedro Figari pasó una temporada con su
familia en una granja situada en el actual centro de Tres Cruces, en
Montevideo, desde donde se veía la ribera sobre la bahía. Más tarde,
ese paisaje desaparecería bajo los embates de la urbanización. En
aquel territorio casi rural, Figari vio estampas de la sociedad que luego
pasaron a ser tema de sus pinturas: comunidades afroamericanas,
barracones del ejército y barriadas pobres. Durante un tiempo realizó
principalmente paisajes, a menudo nocturnos, sin figuras humanas. Su
madurez pictórica comenzó hacia 1919, en una etapa en la que pintaba
casi exclusivamente óleos sobre cartón, cuyo característico color
amarillento por momentos asoma entre las pinceladas.
68
Códices Americanos, Serie de la Paz
(American Manuscripts, Peace Series),
2003
Raquel Orzuj
Uruguay (Montevideo, Uruguay, 1939 - )
ink and wax on handmade paper
(tinta y cera sobre papel hecho a mano)
37 x 28 inches (94 x 71 cm)
Raquel Orzuj is an artist, painter, engraver, sketcher, and cartoonist. She
has worked as an art analyst and researcher, teacher, and magazine editor
specializing in art and cartoons. She trained at the National School of Fine
Arts, Teacher Training Institute, and the prestigious Torres Garcia Studio.
She has received 23 international prizes and been invited to show her work
in many exhibitions around the world.
Raquel Orzuj es pintora, grabadora, dibujante e historietista. Trabajó como
analista e investigadora del arte, maestra y editora de revistas especializadas
en arte e historietas. Se formó en la Escuela Nacional de Bellas Artes, el
Instituto de Profesores Artigas y el prestigioso estudio Torres García. Ha
recibido veintitrés premios internacionales y fue invitada a exhibir sus
obras en exposiciones de todo el mundo.
69
Indoamérica, sol y tierra
(Indo-America, Sun and Earth), 1938
Joaquín Torres-García
Uruguay (Montevideo, Uruguay, 1874 Montevideo, Uruguay, 1949)
graphite on paper
(grafito sobre papel)
7 ¾ x 5 3/8 inches (20 x 14 cm)
At age seventeen, Torres-García’s family emigrated back to
Catalunya, Spain where he began to study painting, and even
worked with Gaudi on the cathedrals of Sagrada Familia and Palma
de Mallorca. In 1904 he published an article in the Universitat
Catalana magazine that stated art must never copy reality, revealing
his idealized concept of art. In 1910 he organized the Uruguayan
pavilion at the World’s Fair, and eventually returned to his native
country.
Cuando la familia de Torres García decidió partir de regreso a
Cataluña, España, el joven Joaquín tenía diecisiete años de edad.
Allí comenzó a estudiar pintura y llegó a trabajar con Gaudí en las
catedrales de la Sagrada Familia y de Palma de Mallorca. En 1904,
Torres García publicó un artículo en la revista de la Universitat
Catalane, en el que subrayaba su concepción idealista, según la cual
el arte nunca debía copiar a la realidad. En 1910 organizó el Pabellón
Uruguayo en la Feria Mundial de Bruselas. Unas décadas más tarde
regresó a Montevideo para establecerse definitivamente en su tierra
natal, donde fundó su célebre estudio.
70
Inducción cromática
(Chromatic Induction), 1978
Carlos Cruz-Diez
Venezuela (Venezuela, Caracas, 1923 - )
ink printed on silk
(tinta impresa sobre seda)
28 ½ x 31 ½ inches (72 x 80 cm)
Carlos Cruz-Diez is known internationally for his experiments with Op
and Kinetic Art, which he has developed since the 1950s. Traditionally,
Kinetic Art includes moving elements. In Cruz-Diez’s work the movement
is an optical illusion, produced by his sophisticated use of light and color
to create virtual volumes: these move and change depending on the
position of the viewer. As the viewer passes the work, previously invisible
colors and geometric forms emerge and the whole composition appears to
vibrate.
Carlos Cruz-Diez adquirió fama internacional por sus experimentos con
arte óptico (op art) y cinético, que fue desarrollando desde la década de
1950. El arte cinético, como su nombre lo indica, incluye tradicionalmente
elementos móviles. Sin embargo, en las obras de Cruz-Diez el movimiento
es una ilusión óptica, producida por un sofisticado uso de la luz y del
color, cuyo propósito es la creación de volúmenes virtuales que se mueven
y cambian según la posición del espectador. A medida que éste recorre
la obra, surgen colores y formas geométricas que eran invisibles: la
composición entera parece vibrar.
IDBCultural
CulturalCenter
Center 20th
20th Anniversary
Anniversary
IDB
71
Muros signos
(Wall Signs), 1961
Humberto Jaimes Sánchez
Venezuela (San Cristóbal, Venezuela, 1930 Caracas, Venezuela, 2003)
oil on canvas
(óleo sobre tela)
29 ½ x 27 ½ inches (75 x 70 cm)
As a Venezuelan abstract artist in the 1960s, Jaimes Sánchez was
influenced by Spanish Informalism, which led him to join the
“Informalistas” group between 1960 and 1962. In 1961 he began
printmaking, joining the group of engravers “El Taller” in 1962.
In the same year he won the National Prize for Painting at the
Venezuelan Salón Oficial. This painting by Jaimes Sánchez belongs
to a period in which textural effects took precedence over color in
the artist’s interest.
Como artista abstracto venezolano de los años sesenta, Jaimes
Sánchez, que recibió influencias del informalismo español, integró
el grupo de “informalistas” entre 1960 y 1962. En 1961 comenzó a
hacer grabados, y al año siguiente se sumó al grupo de grabadores
“El Taller”. En ese mismo año, 1962, ganó el Premio Nacional de
Pintura en el Salón Oficial Anual de Arte Venezolano. Esta pintura
de Jaimes Sánchez pertenece a un período en el cual los efectos
texturales cobraron precedencia sobre los colores en el interés del
artista.
72
Sin título (Untitled), c. 1990
Jesús Rafael Soto
Venezuela (Ciudad Bolivar, 1923 - Paris, France,
2005)
serigraphy on paper (41/99)
22 x 39 ¾ inches (56 x 101 cm)
Soto’s abstract paintings were composed of serialized and geometric forms
that suggested effects of motion. In a series of works incorporating real and
apparent, Soto favored industrial and modern synthetic materials such as
perspex, nylon, steel, thin metal rods and industrial paint. In the early 1960s
he explored the textures of found objects, including old wood, discarded
and rusty wire, and unraveled rope. His kinetic works created oppositions
between static and dynamic elements so as to invite the spectator’s active
participation, both visually and intellectually.
Las pinturas abstractas de Jesús Rafael Soto se componen de formas
serializadas y geométricas que sugieren efectos de movimiento. En sus trabajos,
que incorporan lo real y lo aparente, Soto dio preferencia a los materiales
sintéticos modernos, como el acrílico, el nailon, el acero, finas varillas metálicas
y la pintura industrial. A principios de los años sesenta, el artista exploró las
texturas de objetos que recuperaba de los desechos, como trozos de madera
vieja, alambres oxidados y cuerdas deshilachadas. Sus obras cinéticas exhiben
contraposiciones entre elementos estáticos y dinámicos, invitando al espectador
a participar activamente con la mirada y también con el intelecto.
73
Highlights from
Idb Cultural Center Activities
Actividades sobresalientes del
Centro Cultural del BID
74
EXHIBITIONS
CONCERTS
LECTURES – FILMS – SPECIAL EVENTS
DEVELOPMENT GRANTS
ARGENTINA
2/96 What a time it was...Life and
Culture in Buenos Aries, 1880-1920
9/92 Santa Fe Guitar Quartet
4/94 Panel on Democracy in Argentina,
producer Aida Bortnik, journalists Santiago
Kovadloff and Juan Carlos Martini
1995 Lihuen Antú Association
5/08 On with the Show! A Celebration of the 100th Anniversary and
Restoration of the Teatro Colón
2/97 Camerata Bariloche, string
orchestra
7/96 Architect Rodolfo Machado, Design in
Public Places Today
1995 Errante Puppet Theater
6/06 Alberto Rojo, singer, songwriter, guitarist
5/99 Novelist Tomás Eloy Martínez, Latin
America: History and Fiction
1995 City Museum of Tandil
5/00 Historian María Susana Azzi, book
presentation, Le Grand Tango: The Life and
Music of Astor Piazzolla
1996 Aranguren Training Institute
4/01 Filmmaker Eliseo Subiela, panel discussion, Film Production and Marketing in Latin
America, with Gael García Bernal
1997 Center for Theatrical Research
4/02 Anthropologist Néstor García Canclini,
1999 Department of Culture, Neuquén
Culture Industries and the Development Crisis
in Latin American Development
6/04 Writer Marcos Aguinis, Convictions That
Sabotage Progress
2000 Municipality of La Paz, Entre Ríos
2/07 Film premiere, Kamchatka, with director 2000 Amanecer Grupo Casa
Marcelo Pinyero
2/10 Novelist Mempo Giardinelli, dialogue
with Fernando Operé
2001 Saga Theater Research Movement
11/10 Film premiere, León Gieco´s Mundo
Alas, with performance by Gieco
2001 Criminal Policy and Penitentiary Affairs Department
8/11 Film premiere, Awka Liwen, Rebellion at
Dawn, with director Mariano Aiello
2002 Ship of Dreams
4/12 Film premiere, El Dedo, DC FilmFest
2002 Cultural Activities Association
2003 Itinerant Cultural Company
2004 San Telmo Civil Association
2004 Cervantes National Theater
2005 Sta. Rosa Agricultural Research Association, Salta
2005 Casa de la Siberia, National University of Rosario
2006 Buenos Aires Civic Association
2006 Argentinean Library for the Blind
2007 Catalinas Theater Group
2007 Municipal Commission of Cusi Cusi
2008 Pueyrredón Historical Museum
2008 Universidad Nacional de Comahue
2008 Instituto Qheshwa Jujuymanta
2008 Colonia San José Historical Museum
2009 Arts and Crafts Traditional Folk Museum
2010 Nampelkan Civil Society
2011 Centro Foro y Estudios Culturales Argentinos
A ustria
12/02 Eggner Trio, classical
10/03 Ars Electronia Museum Director,
Gerfried Stocker
1/06 Jehi Bahk & Paul Gulda
Duo, violin and piano, Mozart anniversary
75
EXHIBITIONS
CONCERTS
DEVELOPMENT GRANTS
B ahamas
6/00 On the Edge of Time: Contemporary Art from the Bahamas
9/03 Joann Deveaux-Callender,
soprano
6/00 Professor Ian Gregory Strachan, Columbus’ Ghost: Tourism, Art and National Identity
in the Bahamas
1996 National Gallery of Art
7/00 Cultural historian Patricia Meicholas,
Talkin’ Ol’ Story: A Brief Survey of the Oral
Tradition of the Bahamas
1998 National Song and Art Competition
4/10 Cultural historian Dr. Nicolette Bethel,
What Price Culture? The Challenge of Cultural
Development in the Caribbean
2000 Department of Archives
2001 Bahamas National Youth Orchestra
2004 National Gallery of Art of Bahamas
2005 Ringplay Productions Theater Co.
2007 St. Matthew´s Youth Ministries
2008 The Hub, Nassau
2009 Boys Choir of Bahamas
2010 Bahamas Writers Summer Institute
B arbados
5/99 Parallel Realities: Five Pioneering Artists from Barbados
6/03 Arturo Tappin, saxophone and
jazz quartet
12/96 Poet Kamau Brathwaite
1996 Barbados Museum and Historical Society
1997 Barbados National Youth Orchestra
2000 National Cultural Foundation
2001 Barbados Dance Theater
2003 Barbados Crafts Council
2003 Seeing Art
2004 Association of Private Child-Care Operators
2005 Israel Lovell Foundation
2008 National Cultural Foundation Library
2011 Pinelands Creative Workshops-PCW
B elgium
9/99 Kolacny Piano Duo
7/06 Cornell University professor Bruno
Bosteels, Borges, Politics and Ethics
9/02 Andy Palacio and the Garífuna
All-Star Band, punta rock
11/93 US archeologist Peter Dunham, The
Lost Cities of the Maya Mountains
1997 Belize National Museum
12/06 Chico Ramos and Friends
9/94 Novelist Zee Edgell, Belize: A Literary
Perspective
1998 Ambergris Museum
B elize
8/02 The Art of Belize: Then and Now
2000 Indigenous Training Institute
2001 Society for Promotion of Eco-Cultural Tourism
and the Environment
2001 Pantempters Steel Orchestra
2002 House of Culture, Cayo
2002 Banquitas House of Culture
2002 Image Factory Art Foundation
2003 Belize Arts Council
2003 House of Culture, Benque Viejo
76
EXHIBITIONS
CONCERTS
DEVELOPMENT GRANTS
2004 Price Centre for Peace and Development
2005 Dramatic Force International
2006 Association for the Protection of the MesoAmerican Barrier Reef
2007 Yo Creek Cultural Dance Group
2008 National Kriol Council
2009 Placencia Peninsula Arts Association
2011 Cácálenel Car Sa Nima (Riverfish Protectors),
Toledo
B olivia
11/96 Between the Past and the
Present: Nationalist Tendencies in
Bolivian Art, 1925-1950
10/01 Piraí Vaca, guitar
4/96 Historian Juan Albarracin-Jordan, 1996
IDB/CASVA scholar, Images of the Pre-Columbian Past in 20th Century Bolivian History
1996 BHN Foundation
8/04 Folk Art in Bolivia: Celebration
of Everyday Life
9/04 Juan Lázaro Méndolas, indigenous flute
11/04 Indigenous leader, Dr. Waskar Ari,
Aymara Participation in Bolivian Politics and
Current Democracy
1997 Eduardo Laredo National Institute
2/12 Willy Clauré, guitar, cueca
3/06 Novelist Edmundo Paz-Soldán, In Evo
Morales’ Bolivia
2000 Municipal Government of La Paz
4/07 Novelist Juan de Recacoechea and
English translator Adrian Althoff book
presentation, American Visa, with excerpts
from the film
2001 Arca-Ira Foundation
12/07 Film premiere, Los Andes No Creen en
Dios, with director Antonio Eguino
2001 National Festival of Marionette Theater
6/12 Novelist Rodrigo Hasbún, Recent Trends
in Latin American Literature
2002 Artewasi
2002 Office of Cultural Heritage
2002 Volunteers in Action
2003 Advenir Association
2003 SCIENTIA Consultoria Cientifica
2004 Association for the Arts and Culture
2004 Luz Universal Integral Programs
2004 Episcopal Commission of Education
2005 Tomás Katari Technical Institute
2006 Andean Cultural Center
2007 National Museum of Ethnography and Folklore
2008 Reyes Folk and Archaeological Museum
2008 Ayllus de Tinguipaya, Potosí
2009 Imagen Foundation
2010 Philharmonic Music Society- Santa Cruz Youth
Symphony
2011 Metamorfosis
B razil
7/97 Brazilian Sculpture from 1920
to 1990 (collaborative)
5/96 Camerata Antiqua de Curitiba, chamber orchestra and chorus
9/96 Sociologist Roberto DaMatta, Understanding Messianism in Brazil: Notes from a
Social Anthropologist
1998 Ministry of Culture and Recreation
4/00 Athletes of Brazil (collaborative)
6/97 Daniel Wolff and Thiago de
Mello, guitar and percussion
11/99 Novelist Nélida Piñon, The Female
Memory in the Narrative
2002 Public Library of Fortaleza
2/06 A Beautiful Horizon- The Arts of
Minas Gerais
2/98 Quinteto D'Elas, chamber
ensemble
10/03 Minister of Culture Gilberto Gil, Brazilian Culture: Creativity and Development
2003 Ceará Public Library
4/00 Fabio Zanon, classical guitar,
Brazil quincentennial
4/05 Filmmaker Tizuka Yamasaki, Japanese
Immigration to Brazil in the 20th Century
2004 Waku’mä Artistic and Cultural Productions
77
EXHIBITIONS
CONCERTS
DEVELOPMENT GRANTS
4/00 Tania Lisboa and Miriam
Braga, cello and guitar, Brazil
quincentennial
9/05 Film premiere, My Uncle Killed a Guy,
Latin American Film Festival
2004 Ministry of Evangelization and Social Assistance
11/00 ANIMA, classical/folk
ensemble
5/06 Film premiere, This is Bossa Nova, DC
FilmFest
2004 National Center of Studies and Projects
2/02 Sao Paulo String Quartet,
chamber ensemble
10/09 Film premiere, Veronica, Latin American Film Festival
2005 Union of Show Business Artists and Technicians
7/02 Marcos Valle & Os Cariocas,
bossa nova pioneers
2005 Economic Development Agency of Campo
Grande
2/05 Gilberto Gil, tropicalia star,
inauguration of EVI Conference
Center
2006 Joaquim Nabuco Foundation
5/06 Vinicius Cantuaria, and band
2006 Center for Employment of Native and Indigenous People
1/08 Brazilian Guitar Quartet,
classical
2006 Novos Curupiras Ecological Action Group
2007 Artisans Association of the Leonidas Marques
Municipality
2007 GEMA Brazil Cultural Association
2008 Regional Museum, Sao Joao del Rei, Minas Gerais
2008 Arte Tropeira, Sao Paulo
2008 Brazilian Federation of Dance, Brasilia
2009 Chico Rei Afro-Brazilian Cultural Center
2009 Nova Uniao dos Pequenos Productors, Vaca
Community
2010 José Lazzarini Foundation
2010 Roots in Movement Institute
2010 Acre Youth Network in Action
2011 Casa de Barro Açoes Culturais
2011 Terra Viva Institute , Bahia
CANADA
12/00 Masterpieces of Canadian Inuit
Sculpture
2/06 Dale Kavanagh, guitar
2/11 Canadian Impressions
7/97 Architect Douglas Cardinal, Architecture as a Living Process
2/01 Roch Carrier, National Librarian of
Canada, Multi-culturalism: Bringing the
Rainbow into the House
3/01 Ethnobotanist/explorer Wade Davis, The
Light at the Edge of the World
2/05 Derrick de Kerckhove, Director of Univ.
Toronto McLuhan Program, Electricity and
Culture in Developing Countries
9/09 Film screening, The Saddest Music in
the World
10/09 Film screening, Mon oncle Antoine
3/11 Film premiere, Earth Keepers, with
filmmaker Mikael Rioux, DC Environmental
Film Festival
C hile
2/01 Tribute to Chile, Violeta Parra,
1917-1967: Tapestries and Oil Paintings
78
10/94 Ensemble Bartok, contemporary
3/93 Novelist José Donoso, Houses, Voices
and Languages in Latin America
1995 University of Valparaíso
11/95 Verónica Villarroel, soprano
9/99 Art historian Leopoldo Castedo, Cultural
Foundations of Latin American Integration
1996 Tiempos Nuevos Foundation
EXHIBITIONS
CONCERTS
DEVELOPMENT GRANTS
6/96 Angel Parra, folksinger
1/01 Statesman Gabriel Valdés, Globalization,
Politics, and Ethics
1998 El Canelo de Nos Corporation
3/01 Violeta Sinfónica, with Isabel
Parra and family
5/01 Novelist Jorge Edwards, The Novel and
Society in Latin America
1999 Mackenna Children’s Hospital
5/08 Cecilia Echenique and Eduardo Peralta, folk duo
11/03 Novelist Albert Fuguet, book presentation, Movies of My Life
1999 Museum of San Francisco de la Alameda
2/04 Writer Ariel Dorfman, book presentation, Desert Memories: Journeys in the
Chilean North
2000 Amor en el Sur Films
6/06 Poetry recital by Pablo Neruda recording played at the IDB 40 years after he came
to Washington (CD Reproduction)
2000 Writers Society of Chile
4/12 Film premiere, MadWomen, with director María Elena Wood and heir/archivist Doris
Atkinson, a documentary on the private life of
Gabriela Mistral
2001 Facetas Theater Group
2002 Lo Barnechea Cultural Corporation
2003 CreArte Corporation
2003 CultivArte
2004 Municipality of Valparaíso
2004 Manuel Rojas Cultural Center
2005 Esperpentia de Batuco Cultural Group
2005 Cultural Corp. of Peñaflor
2006 Municipality of Punta Arenas
2006 Balmaceda Cultural Corporation
2007 Private Corporation for Promotion of Science
and Technology
2007 Municipality of San Juan de la Costa
2007 Mapuche Council of Cerro Navia, Santiago
2008 Torres del Payne National Park
2008 Trañi Trañi Education Center
2009 Achen Cultural Network
2010 Escenalborde Cultural Center
2011 CIHDE. Centro de Investigaciones del Hombre en
el Desierto, Arica and Parinacota
C hina
1/10 Xiapei Xu, pianist
C olombia
10/93 Colombia: Land of El Dorado
1/94 Mauricio Mejía, piano
4/93 Historian Germán Arciniegas, How the
History of America Began
1996 José María Delgado Foundation
9/98 Points of Departure in Contemporary Colombian Art
4/95 Grupo Ballestrinque, choir
4/98 Novelist Albalucía Angel, Out of Silence
1996 Academy of Music in Puerto Gaitán
11/97 Adrian Chamorro and Blanca
Uribe, violin and piano
7/04 Writer William Ospina , Hölderlin and
the U’was – A Reflection on Nature, Culture
and Development
1996 El Contrabajo Cultural Foundation
9/98 Música Ficta, colonial
ensemble
10/04 Writer Darío Ruiz Gómez, The Difficulty
of Telling the Truth
1997 University of Antioquia
2/09 Grupo Bahía Ensemble,
folk-jazz
1998 Museum of Antioquia
10/08 Roundtable discussion on Bogotá:
The Proud Revival of a City, IDB President
Moreno, Carolina Barco (Colombian ambassador), Jaime Castro (former Mayor of Bogotá),
and Gerard Martin
79
EXHIBITIONS
CONCERTS
6/12 Champeta pioneer Charles
King and the Intelligents at
Artomatic
DEVELOPMENT GRANTS
1/08 Film premiere, Apocalipsur, with director Javier Mejía
1999 International Cinema Corporation
12/08 Film premiere, Paradise Travel, with
producer Alex Pereira
1999 Las Palmeras Cultural Center in Cartagena
4/10 Film premiere, Blood and Rain, with
director Jorge Navas
2000 Revista Promoteo Corporación de Arte y Poesía
4/10 Film premiere, Wind Journeys, with
director Ciro Guerra, DC FilmFest
2000 Escuela Superior de Artes Arango
5/11 Writer Laura Restrepo, The Lack of
Memory in Latin America That Causes History
to Repeat Itself, and book presentation No
Place for Heroes
2001 Universidad Nacional, urban music program
2001 Cartagena Museum of Modern Art
2002 National Museum of Colombia
2002 Latin Corner Theater
2002 El Refugio Foundation
2003 Popular Theater Network Association
2003 San Vicente Secretariat of Culture
2004 Fund for the Promotion of Culture
2004 Bucaramanga Modern Art Museum
2004 Friends of the Art Collection of the Bank of the
Republic
2005 Social Foundation Banacol
2005 Sto. Domingo de Guzmán Cultural and Social
Foundation
2006 Kootirrawa Foundation
2006 Integrity and Transparency Foundation of the
Atlantic
2006 Peace, Love, and Library Youth Organization
2007 PazcaArte Cultural Environmental Corporation
2007 Aurelio Mosquera Caicedo Foundation
2008 Metals workshop, Cartagena
2008 Pueblo de Totoró indigenous rituals
2009 Universidad Pedagógica y Tecnológica
2010 Business Development Corporation of Northern
Santander- PROEMPRESAS
2011 Fundación La Tortuga Triste, Cauca
C osta R ica
6/93 Journey to Modernism: Costa
Rican Painting and Sculpture from
1864 to 1959
1/11 Pablo Esquivel debut, piano
5/07 Young Costa Rican Artists: Nine
Proposals
11/00 Statesman Oscar Arias, Nobel laureate,
Values, Leadership, Development and the IDB
1994 Pax Natura exhibit
12/03 Smithsonian Museum Director Cristián
Samper, The Cultural Ecology of the Americas
1997 National Theater
1999 Ministry of Culture, Youth, and Sports, Heredia
Adult Choir
2000 Dirección General de Cultura
2001 Costa Rican Museum of Art
2002 Action Plan on Indigenous Reserves
2003 Ministry of Culture, Youth, and Sports, Creative
Hands Program
2004 Municipal Music School of Aserrí
80
EXHIBITIONS
CONCERTS
DEVELOPMENT GRANTS
2005 Kus Kura Civil Company
2005 Nuestras Voces Communication Center
2006 Association for the Preservation of Flora and
Wildlife
2006 Ministry of Culture, Youth and Sports
2007 Vecino Education Center
2008 Institute of Community Education
2009 Bríbipa Kaneplo Association
2010 AMUBIS Cultural Association
2011 Desamparados Municipality, Culture and Tourism
Unit
C roatia
2/05 Robert Belinic, classical guitar
2/09 Pianist Srdjan Caldarovic and
violinist Ivan Novinc
D enmark
10/02 Opera composer Poul Ruders with guitarist David Starobin
D ominican R epublic
10/97 Mystery and Mysticism in
Dominican Art
10/97 Antonio Rincón, violin
10/97 French art historian/curator Marianne
de Tolentino, From Expression to Expressionism in Dominican Art
2001 Cibao Philharmonic Foundation
9/08 Inside and Out: Trends in the
Arts of the Dominican Republic
5/11 Laurie Rubin, mezzo soprano
6/00 Novelist Julia Alvarez, book presentation, In the Name of Salomé
2002 LA and Carib Assoc Cultural Agents
6/06 Film premiere, Feast of the Goat, with
Isabella Rossellini and director Luis Llosa
2002 Secretariat of State for Culture
2003 Santo Domingo Autonomous University
2003 Don Bosco Children´s Center
2005 Atlántica Foundation
2007 Community Development Society of Gualey
2008 Dominican Institute for Integral Development
2009 Dominican Institute of Comprehensive Development IDDI
2010 Moon School Theater Foundation
E cuador
10/94 17th and 18th Century Sculpture in Quito
7/04 Trio Colonial, popular music
10/94 Art historian and curator Magdalena
Gallegos de Donoso, The Development of
Sculpture in the Quito School
1996 Central University art competition
11/07 Alex Alvear, 12 piece band,
with singer Marta Gómez, folk rock
3/97 Poet Raúl Pérez Torres, Brief Notes on
Ecuadorian and U.S. Literature
1997 Pichincha College of Journalism
7/12 Film premiere, Pescador
1998 Coastal Association of Archaeology and Anthropology Alumni
2000 Cultural and Ecological Research Center
2001 El Espacio Arts Center
2001 Benjamín Carrión Center for Ecuadorian Culture
2002 Christian Youth Association
2003 Pichincha Foundation
81
EXHIBITIONS
CONCERTS
DEVELOPMENT GRANTS
2003 National Dance Company
2004 Quito Historic Center Corporation
2004 Cactus Azul Scenic Art Foundation
2005 Ecological Defense Foundation
2005 MARKA Institute of History and Andean
Anthropology
2006 Municipality of Ibarra
2006 IX Cuenca International Biennial of Painting
2007 City Eco-Management Consortium
2007 Ibero-American Virtual Unity Foundation
2008 Ashé Cultural Foundation
2009 Sinchi Sacha Foundation
2010 Corporation for Human Development- National
Cultural Network- RIN
E l S alvador
9/00 Two Visions of El Salvador:
Modern Art and Folk Art
10/00 Poet Miguel Huezo Mixco, The Construction of Cultural Identity in El Salvador as
Seen Through its Literature
1994 Art exhibition at COF
6/11 Archaeologist Dr. Fabio Esteban Amador, 1997 Museum of Words and Images
Cultural Identity in El Salvador: Olmec, Maya,
Toltec, Pipil?
1998 CELARTE
2000 CONCULTURA - National Museum of Anthropology
2001 ProArte Association
2001 Museum of Modern Art Association
2002 El Salvador Poets Foundation
2002 Universidad Centroamericana Film Club
2003 El Salvador Technological University
2003 Radio program on cultural journalism
2004 Ciudad Delgado Museum
2004 Tiempos Nuevos Theater
2005 AP-ARTE Association for the Arts
2005 RAIS- Institute for the Rescue of Ancient
Anthropology
2006 Association for the Organization and Education
of Entrepreneurial Women of El Salvador
2007 National Foundation for Development, FUNDE
2008 Art Museum of El Salvador
2008 ACCIES Indigenous Communities
2009 Cultural Restoration of Suchitoto
2010 Izalco Indigenous Community Foundation
2011 Opera El Salvador Association
F inland
11/94 Jan-Erik Gustafsson, classical
cello
82
EXHIBITIONS
CONCERTS
1/95 Jean-Efflam Bavouzet, classical piano
3/99 Architectural historian Isabelle Gournay,
The Transformation of Paris in the Second
Empire
DEVELOPMENT GRANTS
F rance
2/99 L'Estampe en France: 34 Young
Printmakers
9/99 Contemporary French Printmaking, traveling exhibition to Rio de
Janeiro, Brazil
G ermany
10/96 Duo Sonare, classical guitar
duo
2/07 Jacques Thibaud Trio with the
Poulenc Trio
G uatemala
10/98 A Legacy of Gods: Textiles and
Woodcarvings from Guatemala
3/94 Luis Girón May and Consuelo
Medinilla, baritone and piano
10/93 Indigenous leader Rigoberta Menchú,
Nobel laureate, The International Year of
Indigenous Peoples
1999 New World Archaeological Foundation
2/07 Guatemala – Past and Future
11/05 Millennium Ensemble,
Baroque chamber music
2/07 Minister of Culture Manuel Salazar,
Mayan Cosmovision
2000 Center for Development Studies
3/07 Cuarteto Contemporáneo de
Guatemala
2/07 Petén expert Eduardo Cofiño, Petén:
Problems and Opportunities
2001 Association to Promote Lenten Traditions
7/09 Film premiere, Gasolina
2002 Music and Youth Foundation
2002 Ixchel Museum of Textiles
2003 Yun Qax Civil Association
2003 Green Alliance Association
2003 Neurological Institute
2005 Espacio Blanco Theater Group
2005 Association for Integral Development of Civil
Society
2006 Adrían Inés Chávez Center for Mayan Studies
2006 Social Development Office of the Municipality
of Guatemala
2007 Civil Society for the Development of Housing,
SODEVIP
2007 Committee for the Improvement of the Temple
2008 Museum of Ancient Texts, Antigua
2008 Gabina Foundation
2009 Defensores de la Naturaleza Foundation
2010 Fourth World Movement
2010 Ministry of Sports and Culture of Guatemala:
Office of the Director General of the Arts
2011 Mejoramiento Habitacional de GuatemalaAssociation MejorHa
G uyana
6/06 The Arts of Guyana: A Multicultural Caribbean Adventure
8/03 Slingshot and the Tropical
Waves
11/98 Novelist Fred D'Aguiar, Made in Guyana
1996 University of Guyana, Latin American Resource
Project
8/00 Statesman Sir Shridath Ramphal, Is
2000 a Time for Celebration? The Caribbean
Looks at Globalization
1999 Ministry of Culture, Youth and Sports, museum
training course
83
EXHIBITIONS
CONCERTS
7/06 Professor Rupert Roopnaraine, The
Culture of Politics and the Politics of Culture:
Martin Carter and Stanley Greaves
DEVELOPMENT GRANTS
2001 Ministry of Culture
2002 Harmony Project
2002 Guyana Women Artists Association
2003 Varqa Foundation
2004 Ninth Region Indigenous Development Association
2004 Dayspring Guidance Center
2005 Conservation International
2006 The Arts Forum, Inc.
2007 Guyana Teachers Union
2008 GuyberNet Training Center
2009 Guyana Women Artists Association
2010 Mainstay Village Council
2011 Merundoi Incorporated
H aiti
5/04 Vive Haiti! Contemporary Art of
the Haitian Diaspora
7/01 Emeline Michel, singer/songwriter and her band
12/95 Novelist Edwidge Danticat, Haiti: A
Bi-Cultural Experience
2000 AfricAmerica Foundation
6/12 Discover Haiti, arts and crafts
marketed by Donna Karan’s Urban
Zen.
5/02 Amos Coulanges, guitarist/
composer
2/08 US writer Madison Smartt Bell, book
presentation, Toussaint Louverture- A
Biography
2001 College St. Pierre Museum
5/04 Beethova Obas, popular
singer/ songwriter and his band
5/10 Magali Comeau Denis, Rebuilding Haiti
Through Its Culture
2001 Culture Creation Foundation
2002 Pyepoudre Cultural Center
2004 Foundation and Institute for Women Entrepeneures
2005 National School for the Arts
2005 Haitian National Pantheon Museum
2006 Compagnie NIFE Theater and Visual Arts
Company
2006 Association for Dance and Theater- ASDATH
2007 Organization for Southern Renewal of Haiti
2007 Cooperative for the Rehabilitation of the
Environment
2008 ADANO Artists Association
2008 ARCADE Cultural Association
2009 Haitian Fine Arts and Crafts
2009 Socio-cultural center in Gombo
H onduras
6/01 Honduras: Ancient and Modern
Trails
84
9/01 Honduras Ensemble, chamber
ensemble
2/95 US archaeologist James Brady, La Cueva
del Río Talgua: The Cave of the Glowing Skulls
1994 Youth Orchestra of Tegucigalpa
5/97 Poet Roberto Sosa, Poetry and Society:
Those Who Come Wrapped in a Blanket
1997 Floral Games of San Marcos
6/01 Anthropologist and museum director
Olga Joya, Copan: Past and Present, with
Harvard’s William Fash and Japan’s Seiiche
Nakamura
2000 Casa de la Cultura de Santa Rosa de CopánCultural Cinema
1/02 Novelist Julio Escoto, Downtown
Paradise: Reflections on Identity in Central
America
2000 Ministry of Culture, Art and Sports
EXHIBITIONS
CONCERTS
10/04 US anthropologist Robert J. Sharer,
Recent Discoveries in Copán
DEVELOPMENT GRANTS
2001 Arte Acción Association
2001 Office for Distance Education by Radio
2002 Ministry of Culture
2002 Honduras Theater Laboratory
2003 Oyuela Women in Arts Association
2003 Cultural Committee of Camayagua
2004 Arts Society
2004 Bellota and Alcitrión Foundation
2005 Alliance Francaise in Tela
2005 Association of Professionals of Sangrelaya
2006 PaísPoesible Writers Association
2006 Palito Verde Triniteca Cultural Association
2007 Honduran Institute of Anthropology and History
2008 Museum of Man, Honduras
2008 Juticalpa Cultural Society
2009 Libre Expresión Association
2010 Association of the Etnia Lenca Communities,
Sierra de La Paz
2010 Mi Tierra Catracha Association
2011 Ayuda en Acción Honduras
I srael
1/95 Timeless Beauty: Ancient Perfume and Cosmetic Containers
5/02 Gavriel Lipkind, classical
cellist
1/95 Art historian/curator Michal DayagiMendels, Timeless Beauty: Ancient Perfume and
Cosmetic Containers
10/04 Wosner/Fiterstein/Segev
Trio, classical
6/08 Avishai Cohen Jazz Trio
10/08 Classical guitarists Liat Cohen
and Luiz de Aquino
11/09 Gal Nyska, classical cello
6/12 Alon Goldstein, classical piano
I taly
2/03 DigITALYart
10/95 Giuseppe Scotese, modern
piano
2/03 Art critic Maria Grazia Mattei, Art & New
Media in Italy
8/11 Latin American Artists of Italian
Descent
1/99 Quarteto Bernini, classical
strings
2/03 Artist Fabrizio Plessi on his work in
DigItaly Art exhibition, and film
12/01 Ensemble Aurora, Baroque
ensemble with Enrico Gatti
2/03 Artist Celestino Soddu, on his work in
DigItaly Art exhibition, gallery talk
2/03 Artist Adriano Abbado, on his work in
the DigItaly Art exhibition, gallery talk
10/11 Bologna opera director Nicola Sani,
Mutual Influences Between Latin America and
Italy in 20th Century Music
11/11 Film screening, John Turturro’s tribute
to the music of Naples, Passione
85
EXHIBITIONS
CONCERTS
DEVELOPMENT GRANTS
J amaica
12/97 Three Moments in Jamaican Art
1/98 Monty Alexander, jazz piano
5/11 Contemporary Jamaican Artists
6/05 Novelist Patricia Powell, Chinese Immigration to Jamaica in the 19th Century
2000 Edna Manley College
9/11 Artist, poet, curator Edward Lucie-Smith
on Jamaican Art- The Problem of Multiple
Identities
2002 National Library of Jamaica
2002 Mighty Gully Youth Project
2002 Jamaica Archive & Records Dept
2003 Area Youth Foundation
2005 New Way Educational and Community Services
2006 Western Society for the Upliftment of Children
2007 University of Technology, Center for the Arts
2007 Northern Caribbean University Resource Center
2008 NEPT Environmental Trust
2009 Youth Reaching Youth
2010 Charles Town Maroon Coummunity Council
2011 The Peoples Museum, Museums of History and
Ethnography, Institute of Jamaica
J apan
5/95 Treasures of Japanese Art: Selections from the Permanent Collection
of the Tokyo Fuji Art Museum
9/94 Kyoko Saito, soprano
2/05 Nikkei Latin American Artists of
the 20th Century
11/95 Tarumi Violinists
3/95 US art historian/curator Ann Yonemura,
Art in Context: Aesthetics, Environment, and
Function in the Arts of Japan
K orea
7/09 Hahn-Bin, violinist
6/05 Linguist Young-Key Kim-Renaud, Creative Women of Korea, 15th-20th Century
5/03 Dreaming Mexico - Painting and
Folk Art from Oaxaca
11/96 Cuarteto Latinoamericano,
strings
9/93 Novelist José Emilio Pacheco, History
and Literature in Mexico
1996 Competition for young painters
3/10 Mexico 2010: A Vision of the
XXI Century
3/06 Jorge Reyes, composer and
keyboardist, with Ariane Pellicer
and Nok Niuk dancers
9/95 Poet Homero Aridjis, Approaching the
End of the Millennium
1998 National Anthropology and History Institute
10/06 Marimba group, Na’Rimba
children’s concert, Duke Ellington
Jazz Festival
8/97 Opera composer Daniel Catán,
Composing Opera: A Backstage Visit to the
Composer’s Workshop
1999 Queretaro State Council for Arts and CultureChildren’s Gallery
8/07 La Catrina Quartet, classical
3/99 Novelist Carmen Boullosa, The Son and
the Father in Don Quixote
2000 Instituto Nacional de Antropología INAH
10/99 Novelist Carlos Fuentes, Latin America
at the Threshold of the New Millennium
2001 National Office for Folk Culture Research and
Promotion
9/05 Film premiere, festivbercine.ron, Latin
American Film Festival
2002 Popular Culture Unit, Campeche
9/06 Film premiere, To the Other Side, Latin
American Film Festival
2002 Tabasco School of Craft Design
7/08 Artist Diego Rosales, The Personality of
Diego Rivera
2003 Metropolitan Autonomous University
9/08 Film premiere, Sleep Dealer, with director Alex Rivera, Latin American Film Festival
2004 Theater for the Deaf
M e x ico
86
EXHIBITIONS
CONCERTS
DEVELOPMENT GRANTS
5/09 Writer Jorge Volpi, Latin America: A
Hologram
2004 Vientos Culturales Civil Assocation
3/10 Film premiere, Alamar, DC Environmental Film Festival
2005 Integral Promotion of Youth Community
Services
6/10 Film screening, Nazarín
2005 Colibrí: Education, Culture and New Technologies Association
6/10 Film screening, Enamorada
2006 Cultural Management Association in Quintana
Roo
2007 Ixtlioyollotl Education Center
2007 Communicators Network of Boca de Polen
2008 Alianza Sierra Madre
2008 Mexican Radio Networks
2008 Association for Families with Special Needs
2009 Zanhe Xbab Sa Non-Profit Organization
2009 Joven es Yucatán Non-Profit Organization
2010 Center for the Development of the Arts and
Sciences
2010 Street Theater Program- IAP
2010 Theater Group “tras-torno” and Puppets
“trastornillo”
2011 Consejo Ecoregional Sierra Tarahumara Civil
Association
N etherlands
3/00 Gwyneth Wentink, harp
1/03 Urban planner Ron van Oers, UNESCO’s
Program in Latin America
8/04 Donald Vega, jazz piano
6/97 Poet Claribel Alegría
1997 Three Worlds Foundation
10/06 Nicaraguan Folk Ballet
performed folk dances and El
Gueguense
5/99 Novelist Sergio Ramírez, True Lies
about Literary Creation
1999 Casa de los Tres Mundos Chorus
6/07 Fabrettino Children´s Choir
11/02 Novelist/poet Gioconda Belli, book
presentation, The Country Under My Skin
2000 Nicaraguan Institute of Culture
N icaragua
5/96 Of Earth and Fire: Pre-Columbian and Contemporary Pottery from
Nicaragua
2001 Foundation for Unity and Reconstruction on
Atlantic Coast
2001 Center for Research on Latin America: Reader’s
Circle
2001 Center for Environmental and Health Education
2002 Concepción City Hall, Masaya
2002 Museum of Anthropology, Nueva Guinea
2002 Nicaraguan Institute of Culture
2003 Corpus Christi Foundation
2003 Christian Center for Peace, Matagalpa
2003 Charity Foundation, León
2004 Cultural Patrimony Office of the Nicaraguan
Institute of Culture
2004 Padre Fabretto Family Association
2005 Association of Rural Cooperation in Africa and
Latin America
87
EXHIBITIONS
CONCERTS
DEVELOPMENT GRANTS
2005 Nicaraguan Center for Promotion of Youth and
Infants
2005 Communications Research Center
2006 Batahola Norte Cultural Center
2007 Casa de los tres Mundos Foundation
2008 Nicaraguan Forum for Culture
2008 New Era Foundation
2009 Caribbean Coast University URACCAN
2011 School of Music and Technology of Bluefields
N orway
12/99 Norwegian Alternatives: Decorative and Applied Arts
12/99 Arve Tellefsen & Havard
Gimse, violin and piano
12/00 Hakon Austbo, piano
P anama
12/95 Crossing Panama: A History of
the Isthmus as Seen through Its Art
8/93 Panama Folkloric Dance
Group
11/03 A Century of Painting in
Panama
9/98 Journalist Gloria Guardia, Aspects of
Creation in the Central American Novel
1999 Feminine Voices Book
11/03 Art historian Monica Kupfer, Breaking
Barriers: Panamanian Art since 1990
1999 El Renacer Rehab Center
2000 National Cultural Institute
2001 School of Fine Arts, University of Panama
2002 Aguilera House of Culture Foundation
2002 Panama City Hall
2003 Inter-Oceanic Canal Museum
2003 Natá Foundation
2003 Shin Matsu Foundation
2004 Museum of Contemporary Art
2004 Matices Foundation
2005 Afro-Panamanian Society for Cultural Development
2005 Center for Art and Culture, Ministry of Education
2006 Besiko Cultural and Crafts Organization
2007 Cultural Tourism at University of Santa María
La Antigua
2008 CONAMUIP Indigenous Women
2010 Program for Advancement and Social Development – PRODESO
2011 Ngöbe Women Association ASMUNG
P araguay
4/94 Other Sensibilities: Recent
Developments in the Art of Paraguay
8/98 Nancy and Daniel Luzko,
piano
3/94 Novelist Renée Ferrer and actress Ana
María Imizcoz, Contemporary Paraguayan
Narrative
1996 Film and Visual Archive Foundation
9/05 At the Gates of Paradise: Art of
the Guaraní of Paraguay
5/99 Ismael Ledesma, harp
3/94 Art historian Annick Sanjurjo Casciero,
Paraguay and Its Plastic Arts
1998 Harlequin Foundation Theater
6/99 Berta Rojas, guitar
11/05 Canadian art historian Gauvin Alexander Bailey, Guaraní Sculpture and the Jesuit
Legacy in Paraguay
1998 Center for Theatrical Research and Dissemination
88
12/05 César Cataldo, harp
1999 Asunción Philharmonic Orchestra
3/08 Lizza Bogado, folksinger
2000 Institute for Development of a Harmonic
Personality- IDAP
EXHIBITIONS
CONCERTS
DEVELOPMENT GRANTS
2001 Paraguay/Japan Center Youth Orchestra
2002 Cabildo Foundation
2002 ICOM, Paraguay
2003 National University of Pilar
2003 Ita Cora CODITA Commission
2003 Tobatí Art School
2004 Melodía Cultural Center
2004 San Juan Bautista School
2005 Desde el Norte Organization
2005 Expresión Art Space Center
2006 Station A Cultural Center
2006 Rural Studies and Popular Culture Society
2007 Municipality of Villarrica del Espíritu Santo
2008 Tierra Nuestra Music Competition
2008 Carapegua Foundation
2009 Tierra Sin Mal Intercultural Project
2010 He Che Valle Organization for Art and Culture
2011 Asunción Foundation, Pirebebuy, Cordillera
P eru
11/92 Peru: A Legend in Silver
10/00 Juan José Chuquisengo,
piano
6/94 Archaeologists Ramiro Matos and Anita
Cook, Nasca Culture and the Nasca Lines of
Peru
1999 City of Lima Metropolitan Center for Theater Arts
2/04 Tradition and Entrepreneurship:
Popular Arts and Crafts from Peru
11/00 Llacta Puka Soncco, folk trio
6/95 Anthropologist Walter Alva, The Royal
Tombs of Sipán
2000 Pisaq Community Museum
6/04 Tradition and Entrepreneurship:
Popular Arts and Crafts from Peru
traveled to Rome, Italy
7/10 Female Voices Choir of the
Pontifical Catholic University of
Peru
9/00 Writer Mario Vargas Llosa, Culture and
Freedom in a World Without Frontiers
2001 Tuky Art Group Regional Dance Competition
5/15/2012 20th Anniversary of the
Cultural Center, with encore performance by Juan José Chuquisengo
11/01 Writer Mario Vargas Llosa, book
presentation, The Feast of the Goat
2001 Julio Ramón Ribeyro Association for Culture:
Musical Heritage
4/04 Philosopher Salomón Lerner, The Essential Role of Ethics in the Development of
Latin America
2002 Pacasmayo House of Culture
4/04 Poet Antonio Cisneros, with Marie
Arana, poetry reading and discussion
2002 Amazon Festival, Madre de Dios
7/05 Writers Daniel Alarcón, Eduardo
González-Viaña, and Marie Arana, Peruvian
Writers in the US - Writing While Living in the
Bridge of Cultures
2003 Center for Urban and Rural Development CEPDUR
4/08 Museum director Natalia Majluf, Public
or Private - Cultural Institutions in Latin
America, the Case of the Museo de Arte de
Lima
2003 Torre School of Fine Arts
6/09 Writer Santiago Roncagliolo, False
Memories of Latin America
2003 Chapel of San Pedro Restoration
2004 Artistas Aficionados Association
2004 Tarpusunchis Association
2004 Institute for the Conservation of Monuments
and their Environment
2004 Yurimaguas Cultural Foundation-Theater Group
2005 Costumbres Corporation
2005 Solidarity Association of Emerging Countries
2006 Art Museum of San Marcos University
89
EXHIBITIONS
CONCERTS
DEVELOPMENT GRANTS
2006 Riva Aguero Institute
2007 National Museum of Archaeology, Anthropology
and History
2007 Señor de la Exaltación Church of Tamburco
2008 Cusco Center for Regional Studies
2008 Center for Human Development Initiatives
2008 Ate-Vitarte Education Institution
2009 Parakultural Art and Science Project
2009 Peruvian Amazon Research Institute IIAP
2010 Advanced Pedagogical Institute- Art Museum of
Lima MALI
2010 JazzJaus Civic Association
2011 Asociación Educativa Cultural Perú Siglo XXI and
Museo de Sitio de Pachacamac
P ortugal
1/04 Gerardo Ribeiro, violin
10/00 Novelist José Saramago, Nobel laureate, book presentation, All the Names
10/04 Cristina Branco, fado singer
and band
5/12 Film premiere, José and Pilar
S lovenia
12/03 Katice, female folk ensemble
S pain
8/93 Picasso: Suite Vollard
5/98 Musica Aperta Washington
Orchestra, homage to García Lorca
with conductor Angel Gil-Ordóñez,
soprano Nancy Fabiola Herrera
2/97 Design in XX Century Barcelona: 10/99 EntreQuatre, guitar quartet
From Gaudí to the Olympics
11/00 Choir of the Prince of Asturias Foundation
9/93 Prado Museum Director Felipe Vicente
Garín, The Last Voyage of Guernica
4/94 Playwright Alfonso Sastre, The Future
of Drama
4/97 Architect Juli Capella, Catalonian
Design: Between Reason and Rapture
6/99 Novelist Arturo Pérez Reverte, book
presentation, The Fencing Master
10/03 Philosopher Fernando Savater, Education and Citizenship in the Global Era
1/05 US translator Edith Grossman, book
presentation, Don Quixote, on book´s 400th
anniversary
5/05 Novelist Antonio Muñoz Molina, Cervantes and the Art of Storytelling
5/06 Panel discussion, Contemporary
Spanish Literature, with writers: Camilo José
Cela Conde, José Corredor Matheos, Eugenio
Fuentes, Andrés Ibañez, Carlos Marzal, Rosa
Montero, José Ovejero Lafarga, and Horacio
Vázquez-Rial
4/08 Film premiere, The Contestant, DC
FilmFest
1/10 Novelist Unai Elorriaga, book presentation, Plants Don´t Drink Coffee
2/10 Novelist Fernando Operé, dialogue with
Mempo Giardinelli
90
EXHIBITIONS
CONCERTS
DEVELOPMENT GRANTS
S uriname
6/98 In Search of Memory: 17 Contemporary Artists from Suriname
8/98 Novelist Cynthia McLeod, The Extraordinary Life of Elisabeth Samson in 18th
Century Suriname
1999 Stichting Surinaams Museum
2000 Nola Hatterman Institute
2001 Suriname Public Music School
2001 Wi Oso Foundation
2002 Tooka Foundation
2002 CARICOM Youth Ambassadors
2003 Pro-Development Foundation
2003 CRABASI Foundation
2003 ICMEN Foundation
2004 Federation of Private Social Institutions
2004 Film Foundation of Suriname
2005 Manasse Act Foundation
2005 Stichting Projekten Protestants Christelijk
Onderwijs
2006 Federation of Visual Artists
2007 Suriname Guitarinstenkring Foundation
2007 Suriname Foundation for the Arts Education
2008 Powakka Socio-Economic Development Foundation
2011 Tembe Art Studio Foundation
S weden
9/01 Strictly Swedish: Contemporary
Design in Sweden
3/00 Esborn Svensson Trio, jazz
11/01 US design historian Judith Gura,
Modern Design in Sweden
S witzerland
6/03 Daniel Schnyder Trio, jazz
T rinidad & T obago
5/02 A Challenging Endeavour: The
Arts of Trinidad & Tobago
7/00 Caribbean Art Jazz Ensemble
1/98 Novelist Earl Lovelace, Welcoming Each
Other: Cultural Transformation of the Caribbean in the 21st Century
1996 Youth Celebrating the Future
5/06 Trinidad and Tobago Defense
Force Steel Orchestra
5/01 Hedy Fry, Canadian Secretary of State
for Multiculturalism, Beyond Tolerance: Two
Journeys
2000 Caribbean Contemporary
7/11 Jeanine De Bique, soprano
10/01 V.S. Naipaul, Nobel laureate, book
presentation, Half a Life, C-Span coverage
2001 Studio 66 Art Support Community
2/11 Film premiere, Mas Man, with filmmaker Dalton Narine
2002 Key Academy of Music
2003 ATELIER project
2003 University of West Indies
2004 Association of Responsible Persons
2004 Roxborough Police Youth Club in Tobago
2005 Busy Corner Sports and Cultural Club
2006 National Drama Association of Trinidad and Tobago
2007 Greenlight Network
91
EXHIBITIONS
CONCERTS
DEVELOPMENT GRANTS
2007 University of West Indies MusicNova
2008 Pan in Schools Council
2009 Birdsong Steel Orchestra
2010 T&T Assos Retired Persons TTARP
2011 The Artist Coalition of Trinidad and Tobago
U nited K ingdom
7/99 National Isis String Orchestra
8/01 Economist Rosemary Thorp, The Past
as Future
10/02 Catrin Finch, harp
4/07 Historian Felipe Fernández-Armesto,
Amerigo and America?
10/08 Martin Taylor, jazz guitar
11/07 Historian Sir John H. Elliott, Contrasting Empires: Britain and Spain in America
9/96 Expeditions:150 Years of
Smithsonian Research in Latin
America
3/95 Christopheren Nomura,
baritone
8/94 New York City Ballet dancer Edward
Villella, Dance: From Folk to Classical
3/00 New Orleans: A Creative Odyssey
12/95 Manchester String Quartet,
chamber
1/96 University of Chicago theologian Bernard McGinn, The Meanings of the Millennium
U nited S tates
2/08 Extended Boundary: Latin Amer- 12/96 Amadeus Trio, chamber
ican and Caribbean Artists in Miami
5/98 Journalist Roberto Suro, How Latino
Immigration is Transforming America
12/97 Opus III Trio, chamber
11/00 Translator Eliot Weinberger, Anonymous Sources: Translators and Translation
10/98 QuinTango, ensemble
6/02 Novelist Oscar Hijuelos, book presentation, A Simple Habana Melody
4/03 Curtis Roads, digital music
8/02 Conductor J. Reilly Lewis, What’s So
Special About Bach?
12/04 Gospel singer Myrna Summers and the Reid Temple AME
Choir
9/07 National Museum of Women in the Arts:
Legacies of Women in the Performing Arts,
Diahann Carroll, Jane Curtain, Della Reese,
Loretta Swit, Julie Taymor
5/05 Washington National Opera
Gala with Placido Domingo
2/10 Dr. Mari Carmen Ramírez, Elevating the
Profile of Latin American Art
5/06 Washington Opera Young
Artists Amanda Squitieri and Erin
Elizabeth Smith, Women’s Life and
Love
4/12 MSNBC commentator Chris Matthews,
book presentation, Jack Kennedy: Elusive Hero
5/07 Duke Ellington School of the
Arts Jazz Orchestra
8/08 José Conde and Ola Fresca,
salsa and Afro-Cubano
U ruguay
9/92 Currents: Teachings of Torres
García
10/93 Dahd Sfeir, actress
2/97 Theater director César Campodónico,
and actor Héctor Guido, The History of Teatro
El Galpón
1994 Youth Symphony Orchestra
9/95 Figari's Montevideo, 1861-1938
4/94 Nibya Mariño, piano, at the
OAS
5/02 Actress China Zorrilla, one-women show,
Había una vez...
1994 Blanes Municipal Museum
3/12 Contemporary Uruguayan
Artists: A Uruguayan Presence in the
About Change Exhibition
2/96 Camerata Punta del Este, at
the OAS
5/03 Architect Rafael Viñoly, A Sense for
Public Space:Architecture in a Time of Compulsive Consumption
1995 Coro Profundis
11/97 Nives Dearmas, harpsichord
1/12 Film screening, Gigante
1996 Atlántida High School Choir
1/05 Enrique Graf, piano with
violinist Lee Chin-Siow
3/12 Film screening, Whisky
1996 Torres García Foundation
92
EXHIBITIONS
CONCERTS
11/08 Atípica Tango Band, part of
Uruguay Youth Orchestra tour
DEVELOPMENT GRANTS
3/12 Film premiere, A Useful Life, DC Environ- 1997 Serafin J. García Cultural Center
mental Film Festival
1998 Torres García Museum
1999 National Youth Orchestra System
2000 Polizón Theater
2001 Uruguayan Artists and Sculptors Association
2002 Museum of American Art Foundation
2002 Quinteto Barullero
2003 Uruguayan Film Library
2004 Association of Rural Women in Uruguay
2004 Art Critics Association of Uruguay
2005 Cultural Historic Institute and Museum of Fine
Arts
2005 University of the Republic, Dept of Archaeology
2006 Cultural Department of Municipality of Salto
2006 La Bodega Youth Center
2007 Papagayo Azul Association
2008 Del Carmen Museum and Archive
2008 Valdense de Colonia Church
2009 Joaquín Torres García Foundation
2010 La Paz Community Center
2011 Club Social Velásquez, Rocha
V enezuela
9/99 Leading Figures in Venezuelan
Painting of the 19th Century
11/95 140-member National Youth
Symphony Orchestra, at the Kennedy Center, and IDB atrium
9/98 Novelist Salvador Garmendia, A Country, A Decade
2001 Venezuela Children’s Choir
4/99 Caracas Clarinet Quartet with
Paquito D’Rivera
12/05 Foreign Policy magazine editor Moisés
Naím, book presentation, Illicit
2001 Traditions and Crafts of Venezuela Exhibition
1/02 Irene Farrera and Venezuela
Viva
10/06 Film premiere, Maroa, Latin American
Film Festival
2002 Friends of Colonial Art
4/09 Conductor Gustavo Dudamel
with Brass Ensemble of Venezuela
Youth Orchestra
6/09 Film premiere, El Enemigo
2003 Venezuela Civil Association
8/09 Film premiere, El Tinte de la Fama
2003 Castillo House of Culture
2004 Panelín Puppetry Theater Civil Association of
Joaquín
2004 National Cultural Patrimony Institute of
Venezuela
2005 Sabana Larga Civil Association
2005 Consetours Foundation
2006 La Salle Foundation
2007 Colibrí Theater Association
2008 El Convite Rural Center, Mérida
2009 Foundation for the Promotion of Education
FUNDAFE
2010 The Toy Shop Foundation
2011 Artes del Fuego Venezuelan Association AVAF
93
EXHIBITIONS
CONCERTS
DEVELOPMENT GRANTS
I nter - A merican
1/94 Graphics from Latin America:
Selections from the IDB Art Collection
1/97 Washington Opera, Meet the
Artists of El Gato Montés
9/96 US literary critic Barbara Mujica,
Latin American Women at Work: Myths and
Realities
1994 Marta Traba Book Launch
8/94 Latin American Artists in Washington Collections
2/98 Washington Opera, Meet the
Artists of Doña Francisquita
4/98 Puerto Rican novelist Rosario Ferré,
book presentation, Eccentric Neighborhoods
5/94 Environmental Film Festival in Washington DC
6/95 Painting, Drawing and Sculpture from Latin America: Selections
from the IDB Art Collection
11/02 Network for New Music,
contemporary Latin American
composers
12/98 Puerto Rican writer Esmeralda Santiago, with Joie Davidow, PBS host Ray Suárez,
NPR´s Mandalit del Barco, book presentation,
Las Christmas: Favorite Latino Authors Share
Their Holiday Memories
1995 Films of the Americas Festival in Jerusalem,
complement to Annual Meeting
3/99 Emerging Painting of Latin
1/03 Washington Opera Young ArtAmerica and the Caribbean, collabora- ists, Songs of Puccini
tive
2/02 Discussion panel, Film Industry in Latin
America from a Feminine Perspective, with
Laura Pacheco, Gabriela Calvache, Galia
Giménez, and María del Carmen De Lara
1995 CASVA scholar Daniel Schavelzon
1/02 Paradox and Coexistence - Latin
American Artists, 1980-2000
6/04 Latin Jazz All Stars, salsa on
the sidewalk, Fete de la Musique
2/05 Seminar on Culture and Development,
1995 CASVA scholar Alberto Cipiniuk
inauguration of EVI Conference Center, with
IDB President Enrique V. Iglesias, Gilberto Gil,
María Consuelo Araujo, Néstor García Canclini
12/02 First Latin American and
Caribbean Video Art Competition and
Exhibition
2/06 Washington Opera Young
Artists, performance of Hansel and
Gretel.
3/05 Essay competition launch with IDB
Gender in Equity Unit: Ten Years After BeijingProgress I Have Seen
1996 CASVA scholar Sonia Lombardo Ruiz
8/03 Our Voices, Our Images - Hispanic Heritage in Washington DC
10/06 Paquito D’Rivera and
Friends, including Na’Rimba, Roy
Hargrove and Roberta Gamberini,
Duke Ellington Jazz Festival
9/05 Panel discussion on Filmmaking, with
Vera Fogwill, Matias Ovalle, Felix Germán, Gabriel Traversari, Rafael Kohan, Sergio Galliani,
Luis Balibrera, Esteban Ramírez; moderated
by Lydia Bendersky, Latin American Film
Festival
1997 CASVA scholars Ricardo Morales Gamarra,
Natalia Majluf
12/04 II Inter-American Biennial of
Video Art
11/07 Post-Classical Ensemble,
with Embassy of Spain
9/06 Symposium on Sustaining Culture/ Sustainable Culture, with Barbara Hoffman, Elias
Mújica, Wend Wendland, Charles Di Leva,
Alvaro Soto, Francisco Javier López Morales
and Trevor Carmichael
1998 CASVA scholar Felipe Cárdenas-Arroyo
12/06 III Inter-American Biennial of
Video Art, and traveling exhibition to
16 countries
10/08 Paquito D’Rivera and Turtle
Island Quartet, Duke Ellington Jazz
Festival
7/07 Film premiere, Ladrón que roba a
ladrón, with Colombian actor Miguel Varoni
2000 American Association of Museums
11/07 Artful Diplomacy: Art as Latin
America’s Ambassador in Washington,
DC
3/09 Jazz pianist Omar Sosa
Quintet
4/09 Film premiere, Celia the Queen, DC
FilmFest
2001 Kennedy Center ArteAmerica Festival
6/08 Far from Home, The Migration
Experience in Latin America and the
Caribbean
12/09 Symposium on Research Along the
Inka Road, with the National Museum of the
American Indian
2001 Latin American Film Festival, Washington DC
12/08 IV Inter-American Biennial of
Video Art
9/10 IDB Seminar on Culture and Development, with regional ministers of culture
2002 Latin American Film Festival, Washington DC
3/09 50 Years, 50 Works, Outstanding Artworks from Latin America and
the Caribbean
10/11 Film industry experts Mauricio Reyna
(Colombia) and Hugo Villa (Mexico), Film
Industry as a Tool for Integration and Development in Latin America
2003 Museum of the Americas Foundation
5/10 Expressions of the Americas,
Selections from the IDB Art Collection
6/10 An Equal Start, Numeracy
Education in Latin America and the
Caribbean
12/10 Arte America, collection travels
to Santiago, Chile
12/10 V Inter-American Biennial of
Video Art
11/11 New Visions, acquisitions during 2008-2011
94
2004 CASVA scholar Pablo Escalante González
Elba Agusti
Cultural Development Program
Debra Corrie
IDB Art Collection
Soledad Guerra
Exhibitions Program
Anne Vena
Inter-American Concert, Lecture and Film Series
Jimmy Alegría
Intern, MBA, Pontificia Universidad Católica del Perú
EXHIBITION COMMITTEE
Cultural Center Staff
PUBLICATION COMMITTEE
Anne Vena, English editor; Lilia Mosconi, Spanish translator; Rolando Trozzi, Spanish editor; Soledad Guerra,
catalogue production; cover design and layout, IDB/GST Design Unit; and Gregory R. Staley, photography.
ACKNOWLEDGMENTS
The IDB Cultural Center wishes to acknowledge and thank our thousands of partners and visitors for their
contributions over these past twenty years, and we look forward to even greater synergy between culture and
development in the 21st century.
Editor’s note:
The majority of the interpretive texts accompanying the artworks were written by former IDB curator Felix Angel
for Cultural Center exhibitions. Other texts were summarized from artists’ webpages, Cultural Center archives,
and catalogues.
Cultural Center Gallery
1300 New York Avenue, NW
Washington, DC
Tel. 202 623 3774 Fax 202 623 3192
e-mail IDBCC@iadb.org
iadb.org/cultural
August 1 – September 28, 2012
Monday – Friday 11 am to 6 pm
IDB Cultural Center
20th Anniversary 1992-2012
Twenty Years in the Service of Culture and Development
The IDB Cultural Center was established in 1992 to contribute to social development, showcase the artistic expressions of the IDB
member countries, and bring understanding between Latin America and the Caribbean and the rest of the world.
Its programs are: Cultural Development Grants; Art Exhibitions; the Inter-American Concert, Lecture and Film Series; and the IDB Art
Collection. Over the past 20 years, 509 cultural development grants resulted in 60,000 direct beneficiaries; 489 concerts, lectures and
films were attended by 96,000 visitors, 83 exhibitions attracted 130,000 guests, 1,722 works in the IDB Art Collection were shown in 17
traveling exhibitions to 78,000 visitors; 180 publications were produced, and some 8,500 press items were written about its activities.
In 2010 the IDB Cultural Center received the Washington, DC Mayor’s Award for Visionary Leadership in the Arts.

English - Inter-American Development Bank

Transcription

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