A program of Cámara de Comercio de Bogotá
A cultural program of:
A program of Cámara de Comercio de Bogotá
A cultural program of:
The Elvira Moreno Gallery, under its manifesto of being a space dedicated to research, experimentation, and representation of progressive art movements that reflects the current sociopolitical contexts of its artists and the influences excerpted by modernism in contemporary art has curatorially chosen works by five artists represented by the gallery.
The works selected are by the Colombian Jorge Riveros from his “Semikolon” series (1967-1972), all using wood as the fundamental basis of his creativity; Federico Ovalles is represented by his most recent works elaborated with precarious found objects and materials belonging to his “Substrate” and “Surface Matter” series, plus a selection of photograms, and an installation by the Mexican mathematician and artist Julia Carrillo; and relevant works by Joaquin Segura (Mexico) and Ernesto Leal (Cuba) now participating in the 2022 Havana Biennial and Kassel Documenta 15 respectively, and a work by the Argentinean artist Alejandro Corrujeira. The photograms and kaleidoscopic installation by Julia Carrillo follow on the seminal experimental photography of Lazlo Moholy Nagy and light and form displacements researched by Olafur Eliasson. A work by Joaquin Segura from his palimpsest series, like the one recently acquired by the Museum of Modern Art in Mexico city; Ernesto Leal will feature works from his intricate “Grammatical” and “Waste One’s Breath” series produced during the last three years of isolation in Havana, and the Argentinean artist Alejandro Corrujeira will be represented by a beautiful, meditative, rhythmical work recently showed at the 2018 Sao Paulo Biennial.
The Elvira Moreno Gallery is a space dedicated to research, experimentation, and progressive thinking focused on exhibits exploring the transcendence of contemporary art and the international historical influences exerted by Latin American art and the international modernism and post-modernism movements of the 20th century. Since its inception, its director, Elvira Moreno, has striven to lead under a multidisciplinary and inclusive approach, hosting non-traditional artistic disciplines such as dance, music, gastronomy, and technology. With its program, the Gallery aims to respond to the demands of contemporaneity. The Gallery is in the San Felipe neighborhood, the Bogota Art District. In this strategically located sector, galleries, artist workshops, and platforms that promote the various currents of art converge to define the artistic cultural identity of the 21st century in Colombia.
Elvira Moreno Gallery is a space that focuses primarily on the representation of emerging and established artists and artist’s estates whose language responds to the national and international artistic context and disseminates its manifestos by participating in international art fairs and collaborative projects with galleries, curators, and cultural spaces worldwide. Our main mission is to establish a coherent and permanent artistic dialogue through a multidisciplinary, reflective, and inclusive approach supported by profound and disciplined research supported in addition by our extensive experience, and thus create a cultural and historical reference to the academy, specialized collecting and the public that supports us.
Her artistic practice examines the conditions of perception within different spaces and fosters immersion situations that invite the intimacy of discovery. Her art is based on the transformation of space through natural phenomena such as the movements of light, the travel of sound, and the dynamics of fluid forces. She develops projects that lead her to build abstract and metaphorical scenarios marked by interior-exterior, natural-built, reality-representation dualities. In these projects, she explores how the passage of time, the random, the rhythms of nature, and individual experiences establish the guidelines for creating interior landscapes. A mathematician from the National Autonomous University of Mexico, she completed a master's degree in Visual Arts at the San Carlos Academy and at the School of Visual Arts in New York. She has participated in various artistic residencies such as the MMCA Residency International Artist Fellowship Program of the National Museum of Modern and Contemporary Art (MMCA / Korea), Flux Factory (New York), and The Hollows (New York). She has obtained support and scholarships for projects such as the Artistic Improvement Residency Program of the National Fund for Culture and the Arts (FONCA, 2014), Program of Support for Production and Research in Art and Media of the National Center for the Arts (CENART, 2015), Young Creators of the National Fund for Culture and the Arts (FONCA, 2016-2017) and Art Science and Technologies (ACT-FONCA 2018). Her works are in the collections of the Monterrey Museum of Contemporary Art (MARCO) and the Universum Science Museum, UNAM. Her participation in ArtBo 2022 is preceded by her critically acclaimed LUZ INSTANTE exhibition at the ARTE ABIERTO* cultural platform in Mexico City and her solo exhibit DIAFANA at the Elvira Moreno Gallery in Bogota, and precedes her artist-in-residence at the renowned ART OMI** foundation in Ghent in New York.
Visual artist. He lives and works in Mexico City, Mexico. His action, installation, intervention, and photographic work have been shown in solo and group exhibitions in Mexico, the USA, Europe, and Asia. Some spaces that have featured his work include Sala de Arte Público Siqueiros, Museo de Arte Carrillo Gil, La Panaderia and Museo Tamayo Arte Contemporáneo in Mexico City, along with El Museo del Barrio, Anthology Film Archives, White Box and apexart (New York, NY), LAXART, MoLAA (Los Angeles, CA) Museo Nacional Centro de Arte Reina Sofia (Madrid, Spain), National Center for Contemporary Art (Moscow, Russia), the Modern Art Museum of Fort Worth, TX and the Museum of Contemporary Art of Denver, CO. His work has been widely reviewed & featured in local and international art publications & significant newspapers such as Artforum, Flash Art, Adbusters, Art Papers, Código, Art Nexus, Discipline, Celeste & The Washington Post, among many others. In 2008/09, Segura was an artist-in-residence at the International Studio & Curatorial Program, New York, NY, and the 18th Street Arts Center, Santa Monica, CA. Between 2012 and 2017, he undertook artistic residencies and research stays at Hangar –Centre de Producció I Recerca d'Arts Visuals (Barcelona, Spain), MeetFactory – International Center of Contemporary Art (Prague, Czech Republic), Impakt Foundation (Utrecht, Netherlands), Casa Wabi (Oaxaca, Mexico) and Seoul Art Space_Geumcheon (Seoul, South Korea). In 2018, he was appointed as a fellow to the National System of Artistic Creators / FONCA (Mexico). His most recent action happened at the 2022 Havana Biennial with the installation titled "What kind of spring is this, where there are no flowers and the air is stale with a miserable aroma?" preceded by his monographic exhibition at the Museum of contemporary art in Queretaro, Mexico. He's a founding member and board advisor of SOMA, Mexico City.
LUCIO CELIS Celis es un arquitecto, paisajista, artista plástico y músico nacido en Bogotá en 1927 que estudió arquitectura en la Universidad Nacional de Colombia. Durante su prolífica carrera profesional, Celis desarrolló una extensa práctica artística y arquitectónica entre Colombia, Venezuela y Brasil. Actualmente pasa su tiempo creativo en medio de un jardín diseñado entre su estudio y su amigo de toda la vida, el arquitecto paisajista brasileño y mundialmente reconocido Roberto Burle Marx. Entre sus proyectos más destacados se encuentran CN70, una instalación sonora que desarrolló en colaboración con la compositora colombiana Jacqueline Nova y que permaneció inédita hasta 2017 cuando el Museo de Arte Moderno de Bogotá la instaló por primera vez, el método de dormir para lograr un mejor desempeño productivo y creativo, que, por cierto, se dio a conocer internacionalmente en la década de 1950, y por último, su preeminente y extensa serie de collages que comenzó en la década de 1950 y se desarrolló hasta la década de 1970, siendo esta serie un trabajo crítico donde nos advirtió sobre el dañino uso del asbesto en la arquitectura, además como una sublime manifestación constructivista basada en los principios modernistas de Jean Arp. Celis también es conocido por haber creado numerosos proyectos arquitectónicos y paisajísticos en Caracas, Río de Janeiro y Bogotá, la mayoría de ellos destruidos en aras de un urbanismo inconsciente de los cuales tan sólo unos pocos quedan en pie. ** Informado a profundidad sobre publicaciones de arquitectura recolectadas a lo largo de su vida profesional como fuente de información y actualización arquitectónica, Lucio Celis utiliza su minucioso oficio para recortar de ellas formas geométricas y orgánicas para luego ser ensamblados en complejas composiciones visuales tanto bidimensionales como tridimensionales. Los fundamentos de sus formas se inspiran en el principio de Jean Arp de que la humanidad es intrínsecamente una con la naturaleza y la fuente de nuestra inspiración creativa; y su proceso de ensamblaje, un ejercicio recordatorio de que la naturaleza y la humanidad crecen en igualdad de condiciones. Muchos son los mensajes en las obras de esta serie que van desde sus premonitorias advertencias sobre el uso del asbesto hasta los idealismos utópicos de la arquitectura modernista junto a sus antagónicos resultados. Sería muy simplista calificarlos de bellos y sin embargo lo son, y es por ello mismo que en su presencia nos invitan a descubrir mensajes ocultos a través de sus sublimes composiciones.
LUCIO CELIS Celis es un arquitecto, paisajista, artista plástico y músico nacido en Bogotá en 1927 que estudió arquitectura en la Universidad Nacional de Colombia. Durante su prolífica carrera profesional, Celis desarrolló una extensa práctica artística y arquitectónica entre Colombia, Venezuela y Brasil. Actualmente pasa su tiempo creativo en medio de un jardín diseñado entre su estudio y su amigo de toda la vida, el arquitecto paisajista brasileño y mundialmente reconocido Roberto Burle Marx. Entre sus proyectos más destacados se encuentran CN70, una instalación sonora que desarrolló en colaboración con la compositora colombiana Jacqueline Nova y que permaneció inédita hasta 2017 cuando el Museo de Arte Moderno de Bogotá la instaló por primera vez, el método de dormir para lograr un mejor desempeño productivo y creativo, que, por cierto, se dio a conocer internacionalmente en la década de 1950, y por último, su preeminente y extensa serie de collages que comenzó en la década de 1950 y se desarrolló hasta la década de 1970, siendo esta serie un trabajo crítico donde nos advirtió sobre el dañino uso del asbesto en la arquitectura, además como una sublime manifestación constructivista basada en los principios modernistas de Jean Arp. Celis también es conocido por haber creado numerosos proyectos arquitectónicos y paisajísticos en Caracas, Río de Janeiro y Bogotá, la mayoría de ellos destruidos en aras de un urbanismo inconsciente de los cuales tan sólo unos pocos quedan en pie. ** Informado a profundidad sobre publicaciones de arquitectura recolectadas a lo largo de su vida profesional como fuente de información y actualización arquitectónica, Lucio Celis utiliza su minucioso oficio para recortar de ellas formas geométricas y orgánicas para luego ser ensamblados en complejas composiciones visuales tanto bidimensionales como tridimensionales. Los fundamentos de sus formas se inspiran en el principio de Jean Arp de que la humanidad es intrínsecamente una con la naturaleza y la fuente de nuestra inspiración creativa; y su proceso de ensamblaje, un ejercicio recordatorio de que la naturaleza y la humanidad crecen en igualdad de condiciones. Muchos son los mensajes en las obras de esta serie que van desde sus premonitorias advertencias sobre el uso del asbesto hasta los idealismos utópicos de la arquitectura modernista junto a sus antagónicos resultados. Sería muy simplista calificarlos de bellos y sin embargo lo son, y es por ello mismo que en su presencia nos invitan a descubrir mensajes ocultos a través de sus sublimes composiciones.
Born in Havana in 1971, Ernesto Leal studied art in Cuba at the Vocational School of Visual Arts, at “Paulita Concepción” from 1983 to 1986, and at the National Art Academy San Alejandro from 1987 to 1990. His work uses a variety of media, from painting and drawing to installations, performance, photography, and video, each chosen to best express a particular idea. During the 1980s, he belonged to the militant group Arte Calle. Through various visual media, Ernesto Leal has been exploring spoken language and written text for many years. He investigates how they are used, misused, appropriated, and subverted, comparing and contrasting the different evolution of the spoken language instead of the written. His work centers on the analysis of the social uses of language and images that become subversive when fragmented put back together and taken out of context. In this way, art becomes a path to knowledge, which instead of pointing to the object itself, centers on its dynamics, its random, mobile, and incomplete nature. “To believe that one can approach the ideas of Ernesto Leal casually is to misunderstand his work completely. Leal is an artist who revels in layered complexities. His aesthetic is coated in subtlety, restraint, and residue. His artmaking process is forged within a disciplined conceptual viewpoint tempered by a sophisticated visual sensibility. Leal asks a tremendous amount of his audiences. He challenges them to devote the time necessary to arrive at an understanding that is as much visceral as it is visual. His demands are rigorous, but they are never more than he, himself, gives as an artist.” Tim Wride His work has been exhibited at LACMA, in the 7th Istanbul Biennial, National Museum of Fine Arts in Havana, in the MADC, San Jose, Costa Rica, at the Samuel Dorsky Museum of Art, New York, in Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC), Badajoz, at the University of Salamanca, Spain, at the Museum of Modern Art (MAM), Mexico. In the Museum of Fine Arts in Buenos Aires, Argentina, at the Museum of Contemporary Art (MARCO), Monterrey, Mexico, headquarters of the IFA, Germany, and the Havana Biennial event organized by the Centre for Contemporary Art Wifredo Lam. He is now part of the Cuban representation at the 2022 Kassel Documenta curated by Tania Bruguera.
Born in Havana in 1971, Ernesto Leal studied art in Cuba at the Vocational School of Visual Arts, at “Paulita Concepción” from 1983 to 1986, and at the National Art Academy San Alejandro from 1987 to 1990. His work uses a variety of media, from painting and drawing to installations, performance, photography, and video, each chosen to best express a particular idea. During the 1980s, he belonged to the militant group Arte Calle. Through various visual media, Ernesto Leal has been exploring spoken language and written text for many years. He investigates how they are used, misused, appropriated, and subverted, comparing and contrasting the different evolution of the spoken language instead of the written. His work centers on the analysis of the social uses of language and images that become subversive when fragmented put back together and taken out of context. In this way, art becomes a path to knowledge, which instead of pointing to the object itself, centers on its dynamics, its random, mobile, and incomplete nature. “To believe that one can approach the ideas of Ernesto Leal casually is to misunderstand his work completely. Leal is an artist who revels in layered complexities. His aesthetic is coated in subtlety, restraint, and residue. His artmaking process is forged within a disciplined conceptual viewpoint tempered by a sophisticated visual sensibility. Leal asks a tremendous amount of his audiences. He challenges them to devote the time necessary to arrive at an understanding that is as much visceral as it is visual. His demands are rigorous, but they are never more than he, himself, gives as an artist.” Tim Wride His work has been exhibited at LACMA, in the 7th Istanbul Biennial, National Museum of Fine Arts in Havana, in the MADC, San Jose, Costa Rica, at the Samuel Dorsky Museum of Art, New York, in Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC), Badajoz, at the University of Salamanca, Spain, at the Museum of Modern Art (MAM), Mexico. In the Museum of Fine Arts in Buenos Aires, Argentina, at the Museum of Contemporary Art (MARCO), Monterrey, Mexico, headquarters of the IFA, Germany, and the Havana Biennial event organized by the Centre for Contemporary Art Wifredo Lam. He is now part of the Cuban representation at the 2022 Kassel Documenta curated by Tania Bruguera.
Born in Havana in 1971, Ernesto Leal studied art in Cuba at the Vocational School of Visual Arts, at “Paulita Concepción” from 1983 to 1986, and at the National Art Academy San Alejandro from 1987 to 1990. His work uses a variety of media, from painting and drawing to installations, performance, photography, and video, each chosen to best express a particular idea. During the 1980s, he belonged to the militant group Arte Calle. Through various visual media, Ernesto Leal has been exploring spoken language and written text for many years. He investigates how they are used, misused, appropriated, and subverted, comparing and contrasting the different evolution of the spoken language instead of the written. His work centers on the analysis of the social uses of language and images that become subversive when fragmented put back together and taken out of context. In this way, art becomes a path to knowledge, which instead of pointing to the object itself, centers on its dynamics, its random, mobile, and incomplete nature. “To believe that one can approach the ideas of Ernesto Leal casually is to misunderstand his work completely. Leal is an artist who revels in layered complexities. His aesthetic is coated in subtlety, restraint, and residue. His artmaking process is forged within a disciplined conceptual viewpoint tempered by a sophisticated visual sensibility. Leal asks a tremendous amount of his audiences. He challenges them to devote the time necessary to arrive at an understanding that is as much visceral as it is visual. His demands are rigorous, but they are never more than he, himself, gives as an artist.” Tim Wride His work has been exhibited at LACMA, in the 7th Istanbul Biennial, National Museum of Fine Arts in Havana, in the MADC, San Jose, Costa Rica, at the Samuel Dorsky Museum of Art, New York, in Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC), Badajoz, at the University of Salamanca, Spain, at the Museum of Modern Art (MAM), Mexico. In the Museum of Fine Arts in Buenos Aires, Argentina, at the Museum of Contemporary Art (MARCO), Monterrey, Mexico, headquarters of the IFA, Germany, and the Havana Biennial event organized by the Centre for Contemporary Art Wifredo Lam. He is now part of the Cuban representation at the 2022 Kassel Documenta curated by Tania Bruguera.
Visual artist. He lives and works in Mexico City, Mexico. His action, installation, intervention, and photographic work have been shown in solo and group exhibitions in Mexico, the USA, Europe, and Asia. Some spaces that have featured his work include Sala de Arte Público Siqueiros, Museo de Arte Carrillo Gil, La Panaderia and Museo Tamayo Arte Contemporáneo in Mexico City, along with El Museo del Barrio, Anthology Film Archives, White Box and apexart (New York, NY), LAXART, MoLAA (Los Angeles, CA) Museo Nacional Centro de Arte Reina Sofia (Madrid, Spain), National Center for Contemporary Art (Moscow, Russia), the Modern Art Museum of Fort Worth, TX and the Museum of Contemporary Art of Denver, CO. His work has been widely reviewed & featured in local and international art publications & significant newspapers such as Artforum, Flash Art, Adbusters, Art Papers, Código, Art Nexus, Discipline, Celeste & The Washington Post, among many others. In 2008/09, Segura was an artist-in-residence at the International Studio & Curatorial Program, New York, NY, and the 18th Street Arts Center, Santa Monica, CA. Between 2012 and 2017, he undertook artistic residencies and research stays at Hangar –Centre de Producció I Recerca d'Arts Visuals (Barcelona, Spain), MeetFactory – International Center of Contemporary Art (Prague, Czech Republic), Impakt Foundation (Utrecht, Netherlands), Casa Wabi (Oaxaca, Mexico) and Seoul Art Space_Geumcheon (Seoul, South Korea). In 2018, he was appointed as a fellow to the National System of Artistic Creators / FONCA (Mexico). His most recent action happened at the 2022 Havana Biennial with the installation titled "What kind of spring is this, where there are no flowers and the air is stale with a miserable aroma?" preceded by his monographic exhibition at the Museum of contemporary art in Queretaro, Mexico. He's a founding member and board advisor of SOMA, Mexico City.
Visual artist. He lives and works in Mexico City, Mexico. His action, installation, intervention, and photographic work have been shown in solo and group exhibitions in Mexico, the USA, Europe, and Asia. Some spaces that have featured his work include Sala de Arte Público Siqueiros, Museo de Arte Carrillo Gil, La Panaderia and Museo Tamayo Arte Contemporáneo in Mexico City, along with El Museo del Barrio, Anthology Film Archives, White Box and apexart (New York, NY), LAXART, MoLAA (Los Angeles, CA) Museo Nacional Centro de Arte Reina Sofia (Madrid, Spain), National Center for Contemporary Art (Moscow, Russia), the Modern Art Museum of Fort Worth, TX and the Museum of Contemporary Art of Denver, CO. His work has been widely reviewed & featured in local and international art publications & significant newspapers such as Artforum, Flash Art, Adbusters, Art Papers, Código, Art Nexus, Discipline, Celeste & The Washington Post, among many others. In 2008/09, Segura was an artist-in-residence at the International Studio & Curatorial Program, New York, NY, and the 18th Street Arts Center, Santa Monica, CA. Between 2012 and 2017, he undertook artistic residencies and research stays at Hangar –Centre de Producció I Recerca d'Arts Visuals (Barcelona, Spain), MeetFactory – International Center of Contemporary Art (Prague, Czech Republic), Impakt Foundation (Utrecht, Netherlands), Casa Wabi (Oaxaca, Mexico) and Seoul Art Space_Geumcheon (Seoul, South Korea). In 2018, he was appointed as a fellow to the National System of Artistic Creators / FONCA (Mexico). His most recent action happened at the 2022 Havana Biennial with the installation titled "What kind of spring is this, where there are no flowers and the air is stale with a miserable aroma?" preceded by his monographic exhibition at the Museum of contemporary art in Queretaro, Mexico. He's a founding member and board advisor of SOMA, Mexico City.
Her artistic practice examines the conditions of perception within different spaces and fosters immersion situations that invite the intimacy of discovery. Her art is based on the transformation of space through natural phenomena such as the movements of light, the travel of sound, and the dynamics of fluid forces. She develops projects that lead her to build abstract and metaphorical scenarios marked by interior-exterior, natural-built, reality-representation dualities. In these projects, she explores how the passage of time, the random, the rhythms of nature, and individual experiences establish the guidelines for creating interior landscapes. A mathematician from the National Autonomous University of Mexico, she completed a master's degree in Visual Arts at the San Carlos Academy and at the School of Visual Arts in New York. She has participated in various artistic residencies such as the MMCA Residency International Artist Fellowship Program of the National Museum of Modern and Contemporary Art (MMCA / Korea), Flux Factory (New York), and The Hollows (New York). She has obtained support and scholarships for projects such as the Artistic Improvement Residency Program of the National Fund for Culture and the Arts (FONCA, 2014), Program of Support for Production and Research in Art and Media of the National Center for the Arts (CENART, 2015), Young Creators of the National Fund for Culture and the Arts (FONCA, 2016-2017) and Art Science and Technologies (ACT-FONCA 2018). Her works are in the collections of the Monterrey Museum of Contemporary Art (MARCO) and the Universum Science Museum, UNAM. Her participation in ArtBo 2022 is preceded by her critically acclaimed LUZ INSTANTE exhibition at the ARTE ABIERTO* cultural platform in Mexico City and her solo exhibit DIAFANA at the Elvira Moreno Gallery in Bogota, and precedes her artist-in-residence at the renowned ART OMI** foundation in Ghent in New York.
Federico Ovalles was born in the city of Caracas in 1972. He studied drawing, painting and sculpture at the Cristóbal Rojas School of Arts and at the Armando Reverón Institute of Visual Arts (IUESAPAR). In 1996 he settled in London for six years, studying drawing and painting at Westminster College, video art at Camberwell School of Art, Art and computing at Tower Hamlet College and printmaking at the London College of Printing. "I am interested in working with divergent ideas between triumphs and failures of Latin American modernity and its consequences, expressed in those areas of the current city that function as "non city" and in contrast to the architectural majesty of great works that erected the Latin American city at mid-20th century. The main axes of my observation and exploration are architecture, geometry, abstractionism and historical constructivism, approaching it beyond tradition, through immediacy, provisionality, spontaneous order and precariousness. construction that so marks the reality in the present of Latin America. I contrast dissimilar materials to create assembly pieces and installations that reference the architectural in a fragile or provisional way, I also build geometries on fabrics or natural fibers and with materials found in the city. "
Federico Ovalles was born in the city of Caracas in 1972. He studied drawing, painting and sculpture at the Cristóbal Rojas School of Arts and at the Armando Reverón Institute of Visual Arts (IUESAPAR). In 1996 he settled in London for six years, studying drawing and painting at Westminster College, video art at Camberwell School of Art, Art and computing at Tower Hamlet College and printmaking at the London College of Printing. "I am interested in working with divergent ideas between triumphs and failures of Latin American modernity and its consequences, expressed in those areas of the current city that function as "non city" and in contrast to the architectural majesty of great works that erected the Latin American city at mid-20th century. The main axes of my observation and exploration are architecture, geometry, abstractionism and historical constructivism, approaching it beyond tradition, through immediacy, provisionality, spontaneous order and precariousness. construction that so marks the reality in the present of Latin America. I contrast dissimilar materials to create assembly pieces and installations that reference the architectural in a fragile or provisional way, I also build geometries on fabrics or natural fibers and with materials found in the city. "
Federico Ovalles was born in the city of Caracas in 1972. He studied drawing, painting and sculpture at the Cristóbal Rojas School of Arts and at the Armando Reverón Institute of Visual Arts (IUESAPAR). In 1996 he settled in London for six years, studying drawing and painting at Westminster College, video art at Camberwell School of Art, Art and computing at Tower Hamlet College and printmaking at the London College of Printing. "I am interested in working with divergent ideas between triumphs and failures of Latin American modernity and its consequences, expressed in those areas of the current city that function as "non city" and in contrast to the architectural majesty of great works that erected the Latin American city at mid-20th century. The main axes of my observation and exploration are architecture, geometry, abstractionism and historical constructivism, approaching it beyond tradition, through immediacy, provisionality, spontaneous order and precariousness. construction that so marks the reality in the present of Latin America. I contrast dissimilar materials to create assembly pieces and installations that reference the architectural in a fragile or provisional way, I also build geometries on fabrics or natural fibers and with materials found in the city. "
Geometric abstraction in Latin America traces the beginnings of the art movement "concretism" through the theories of Theo Van Doesburg (1918) and a decade later to the Constructivist manifesto by the "Circle and Square" group (1931) that counted the Uruguayan artist Joaquín Torres García. Torres Garcia's return to Latin America (1934) initiated a geometric artistic tradition that later evolved into one of the essential creative identities of the region, parting from the traditional established canons and establishing links to the then post-war artistic trends of the European continent. The study of the historical evolution of concretism in Latin America in our previous exhibits has led us to discover the connections of geometric abstraction in Colombia in the hitherto unknown facet of one of the great representatives of the genre, Master artist Jorge Riveros. The purpose of the Elvira Moreno Gallery is to present in ArtBo 2022 a selection of the most seminal works in the artistic evolution of master Riveros and to present for the second time in his exhibiting in art fairs history his links as a founder member of one of the most influential artist groups in Post-War Europe, the Semikolon. Kunstergruppe in Germany (1968). The representation of such seminal artworks emphasizes the primary use by the artist of materials such as wood in sculptural totemic forms, the public identity of the group in the city of Bonn in the 1960s, the use of such in monochrome wall reliefs, and woodcut prints (vintage xilogravures) presenting a historical review of never before exhibited works in the artistic life of Maestro Jorge Riveros.
Geometric abstraction in Latin America traces the beginnings of the art movement "concretism" through the theories of Theo Van Doesburg (1918) and a decade later to the Constructivist manifesto by the "Circle and Square" group (1931) that counted the Uruguayan artist Joaquín Torres García. Torres Garcia's return to Latin America (1934) initiated a geometric artistic tradition that later evolved into one of the essential creative identities of the region, parting from the traditional established canons and establishing links to the then post-war artistic trends of the European continent. The study of the historical evolution of concretism in Latin America in our previous exhibits has led us to discover the connections of geometric abstraction in Colombia in the hitherto unknown facet of one of the great representatives of the genre, Master artist Jorge Riveros. The purpose of the Elvira Moreno Gallery is to present in ArtBo 2022 a selection of the most seminal works in the artistic evolution of master Riveros and to present for the second time in his exhibiting in art fairs history his links as a founder member of one of the most influential artist groups in Post-War Europe, the Semikolon. Kunstergruppe in Germany (1968). The representation of such seminal artworks emphasizes the primary use by the artist of materials such as wood in sculptural totemic forms, the public identity of the group in the city of Bonn in the 1960s, the use of such in monochrome wall reliefs, and woodcut prints (vintage xilogravures) presenting a historical review of never before exhibited works in the artistic life of Maestro Jorge Riveros.
Geometric abstraction in Latin America traces the beginnings of the art movement "concretism" through the theories of Theo Van Doesburg (1918) and a decade later to the Constructivist manifesto by the "Circle and Square" group (1931) that counted the Uruguayan artist Joaquín Torres García. Torres Garcia's return to Latin America (1934) initiated a geometric artistic tradition that later evolved into one of the essential creative identities of the region, parting from the traditional established canons and establishing links to the then post-war artistic trends of the European continent. The study of the historical evolution of concretism in Latin America in our previous exhibits has led us to discover the connections of geometric abstraction in Colombia in the hitherto unknown facet of one of the great representatives of the genre, Master artist Jorge Riveros. The purpose of the Elvira Moreno Gallery is to present in ArtBo 2022 a selection of the most seminal works in the artistic evolution of master Riveros and to present for the second time in his exhibiting in art fairs history his links as a founder member of one of the most influential artist groups in Post-War Europe, the Semikolon. Kunstergruppe in Germany (1968). The representation of such seminal artworks emphasizes the primary use by the artist of materials such as wood in sculptural totemic forms, the public identity of the group in the city of Bonn in the 1960s, the use of such in monochrome wall reliefs, and woodcut prints (vintage xilogravures) presenting a historical review of never before exhibited works in the artistic life of Maestro Jorge Riveros.
Her artistic practice examines the conditions of perception within different spaces and fosters immersion situations that invite the intimacy of discovery. Her art is based on the transformation of space through natural phenomena such as the movements of light, the travel of sound, and the dynamics of fluid forces. She develops projects that lead her to build abstract and metaphorical scenarios marked by interior-exterior, natural-built, reality-representation dualities. In these projects, she explores how the passage of time, the random, the rhythms of nature, and individual experiences establish the guidelines for creating interior landscapes. A mathematician from the National Autonomous University of Mexico, she completed a master's degree in Visual Arts at the San Carlos Academy and at the School of Visual Arts in New York. She has participated in various artistic residencies such as the MMCA Residency International Artist Fellowship Program of the National Museum of Modern and Contemporary Art (MMCA / Korea), Flux Factory (New York), and The Hollows (New York). She has obtained support and scholarships for projects such as the Artistic Improvement Residency Program of the National Fund for Culture and the Arts (FONCA, 2014), Program of Support for Production and Research in Art and Media of the National Center for the Arts (CENART, 2015), Young Creators of the National Fund for Culture and the Arts (FONCA, 2016-2017) and Art Science and Technologies (ACT-FONCA 2018). Her works are in the collections of the Monterrey Museum of Contemporary Art (MARCO) and the Universum Science Museum, UNAM. Her participation in ArtBo 2022 is preceded by her critically acclaimed LUZ INSTANTE exhibition at the ARTE ABIERTO* cultural platform in Mexico City and her solo exhibit DIAFANA at the Elvira Moreno Gallery in Bogota, and precedes her artist-in-residence at the renowned ART OMI** foundation in Ghent in New York.
LUCIO CELIS Celis es un arquitecto, paisajista, artista plástico y músico nacido en Bogotá en 1927 que estudió arquitectura en la Universidad Nacional de Colombia. Durante su prolífica carrera profesional, Celis desarrolló una extensa práctica artística y arquitectónica entre Colombia, Venezuela y Brasil. Actualmente pasa su tiempo creativo en medio de un jardín diseñado entre su estudio y su amigo de toda la vida, el arquitecto paisajista brasileño y mundialmente reconocido Roberto Burle Marx. Entre sus proyectos más destacados se encuentran CN70, una instalación sonora que desarrolló en colaboración con la compositora colombiana Jacqueline Nova y que permaneció inédita hasta 2017 cuando el Museo de Arte Moderno de Bogotá la instaló por primera vez, el método de dormir para lograr un mejor desempeño productivo y creativo, que, por cierto, se dio a conocer internacionalmente en la década de 1950, y por último, su preeminente y extensa serie de collages que comenzó en la década de 1950 y se desarrolló hasta la década de 1970, siendo esta serie un trabajo crítico donde nos advirtió sobre el dañino uso del asbesto en la arquitectura, además como una sublime manifestación constructivista basada en los principios modernistas de Jean Arp. Celis también es conocido por haber creado numerosos proyectos arquitectónicos y paisajísticos en Caracas, Río de Janeiro y Bogotá, la mayoría de ellos destruidos en aras de un urbanismo inconsciente de los cuales tan sólo unos pocos quedan en pie. ** Informado a profundidad sobre publicaciones de arquitectura recolectadas a lo largo de su vida profesional como fuente de información y actualización arquitectónica, Lucio Celis utiliza su minucioso oficio para recortar de ellas formas geométricas y orgánicas para luego ser ensamblados en complejas composiciones visuales tanto bidimensionales como tridimensionales. Los fundamentos de sus formas se inspiran en el principio de Jean Arp de que la humanidad es intrínsecamente una con la naturaleza y la fuente de nuestra inspiración creativa; y su proceso de ensamblaje, un ejercicio recordatorio de que la naturaleza y la humanidad crecen en igualdad de condiciones. Muchos son los mensajes en las obras de esta serie que van desde sus premonitorias advertencias sobre el uso del asbesto hasta los idealismos utópicos de la arquitectura modernista junto a sus antagónicos resultados. Sería muy simplista calificarlos de bellos y sin embargo lo son, y es por ello mismo que en su presencia nos invitan a descubrir mensajes ocultos a través de sus sublimes composiciones.
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