April 21 - 23, 2023
A program of Cámara de Comercio de Bogotá
A cultural program of:
April 21 - 23, 2023
A program of Cámara de Comercio de Bogotá
A cultural program of:
Worlds apART is a collective exhibition that seeks to introduce the viewer to the different fields of artistic expression and representation. It will be an exhibition of eight contemporary artists in parallel careers and Worlds apART, each one with a unique style, technique, language, concept and geography. Jean Luc Iradukunda from Gisenyi, Rwanda,, will be the guest international artist, who has recently been nominated for the 2024 Venice Biennale.
Jean Luc Iradukunda, G Sebastián Fierro, Sair García, Maquiamelo, Camilo Matiz, Juan Pablo Mier, Andrés Pupo, Jerónimo Villa
Galeria Christopher Paschall sXXI was born in 2001, with the mission of promoting the best of Latin American contemporary art in terms of materiality and concept, generating a dialogue in the world artistic field through national and international fairs and exhibitions.
Jean Luc Iradukunda (b. 1998) is a captivating artist hailing from Gisenyi, Rwanda, whose creative journey primarily revolves around the realm of painting. Drawing inspiration from his own experiences as a Rwandan migrant in modern-day South African society, Iradukunda delves into the intricacies of the everyday aesthetic of the nucleus family, while offering insightful commentary on the human condition. At the heart of Iradukunda's artistic oeuvre lies a series of paintings that challenge conventional notions of recognizable form, featuring his signature ‘blue people’. Through abstract shapes and a distinct blue hue, reminiscent of aliens, Iradukunda highlights the profound sense of alienation experienced by foreigners and refugees. By visually "othering" his subjects, he heightens the notion of displacement and the feeling of not belonging within certain spaces and narratives. These almost unrecognizable figures, emphasized by the use of simple lines, invite anyone who has ever felt marginalized or estranged to intimately identify with the imagery. The essence of Iradukunda's artistry lies in his ability to capture the complexities of identity and the human experience. As an artist, Jean Luc Iradukunda invites us to embark on a journey of self-reflection and empathy. Through his abstract expression and profound symbolism, he challenges us to question the constructs that define us and the societies we inhabit. Iradukunda's art serves as a powerful reminder that identity and belonging are multi-layered, and it is through understanding and embracing the diverse narratives of others that we can truly foster connection and unity. Jean Luc Iradukunda's captivating paintings fearlessly explores the complexities of identity, belonging, and home, his art acts as a bridge between cultures, inviting us to connect on a deeply human level and appreciate the richness that arises from our collective experiences.
Jean Luc Iradukunda (b. 1998) is a captivating artist hailing from Gisenyi, Rwanda, whose creative journey primarily revolves around the realm of painting. Drawing inspiration from his own experiences as a Rwandan migrant in modern-day South African society, Iradukunda delves into the intricacies of the everyday aesthetic of the nucleus family, while offering insightful commentary on the human condition. At the heart of Iradukunda's artistic oeuvre lies a series of paintings that challenge conventional notions of recognizable form, featuring his signature ‘blue people’. Through abstract shapes and a distinct blue hue, reminiscent of aliens, Iradukunda highlights the profound sense of alienation experienced by foreigners and refugees. By visually "othering" his subjects, he heightens the notion of displacement and the feeling of not belonging within certain spaces and narratives. These almost unrecognizable figures, emphasized by the use of simple lines, invite anyone who has ever felt marginalized or estranged to intimately identify with the imagery. The essence of Iradukunda's artistry lies in his ability to capture the complexities of identity and the human experience. As an artist, Jean Luc Iradukunda invites us to embark on a journey of self-reflection and empathy. Through his abstract expression and profound symbolism, he challenges us to question the constructs that define us and the societies we inhabit. Iradukunda's art serves as a powerful reminder that identity and belonging are multi-layered, and it is through understanding and embracing the diverse narratives of others that we can truly foster connection and unity. Jean Luc Iradukunda's captivating paintings fearlessly explores the complexities of identity, belonging, and home, his art acts as a bridge between cultures, inviting us to connect on a deeply human level and appreciate the richness that arises from our collective experiences.
Juan Pablo Mier’s search for expression may not yet have a definite result but it does have its own language; his work demonstrates a need to overcome an exhausted reality, to experiment with forms and color in order to find alternatives of representation. Mier manages to depart from the virtuosity of his training in his work and undertakes an impatient search to transform conventional methods in his pictorial process; his strokes are the result of a spatial arrangement, a three-dimensional impression as a natural act of capturing his spirit, transitions, feelings and regrets on paper. The fascination for texture and the feel of materials are evident in his energetic and free intertwined lines, sometimes becoming uncomfortable but also illustrating his exercises of abstraction and expression with purpose. First Impressions, is a journey through the drawings on paper executed during the past seven years which demonstrate a yearning for simplicity and automated spontaneity that evokes the instinctive memory of being, and that connects with the observer not in an analytical way but in a purely sensory and contemplative way.
Camilo Matiz, born in Bogotá Colombia in 1976, is an artist who has successfully explored cinematography, writing, photography and film. Started his career as a Photographer in Sweden, shooting editorial for magazines like Elle and Wallpaper among others and developed his film career by producing his own written films. In Colombia he started working with PS Films productions and RCN televisión and then he co-founded Colombo Films, an image driven firm specialized in publicity and tv commercials since 2005. Camilo is cataloguized as one of the most multifaceted Colombian artists. His film “1989” always conceived as an art piece, staring Vincent Gallo, achieved the Official Selection in Semaine de la Critique in Cannes, as closing film for the festival. Though its huge recognition, Matiz chose not to publicly screen or distribute the film.Only 6 prints in 35mm were made and signed by the artist, all of them in hands of collectors. "Here not here" is his latest work in light sculptures. His artistic expressions through film,photography and other media, has been given several awards.
Sebastián Fierro (Colombia. 1988) holds a BFA from the Universidad de los Andes, Bogotá (2010) and a MFA from Hunter College, New York (2015). His work investigates painting as a method to obtain knowledge. His early work mainly focuses on understanding landscape as a human construction over alien and distant phenomena. His most recent paintings are influenced by the contemporary understanding of space and time. Fierro believes that space/time behaves equally in the universe as in painting, and therefore it is constantly eager to explore and understand our place in the universe. His work has been showed in all mayor institutions in Colombia and is considered as one of the most interesting figures investigating painting. Fierro was awarded the Kossak Painting Fellowship by Hunter College among other prices in Colombia.
Sair García (Barrancabermeja- Colombia, 1975) Master in Fine Arts from the National University of Colombia. His artistic career, which spans more than two decades, has consistently dealt with various aspects of the Colombian armed conflict. Through painting, sculpture and installation, García has approached not only the active actors of the conflict, but also the human drama that ends up affecting individuals, institutions, relationships and dynamics of the disputed territory, in this particular case the Colombian Magdalena Medio. Sair García uses the exercise of memory and the respectful and empathetic recognition of the dynamics of violence.His work is unique in achieving a sharp critical commentary on Latin American socio-political history and its inherent violence through the landscape as a central theme, the natural setting where it occurs.
Maquiamelo is a self-taught Colombian artist who has had solo shows at important international museums including Museo de Arte Contemporaneo de Bogotá in Colombia; Museo de Las Americas in San Juan, Puerto Rico; Centro Cultural Estación Mapocho in Santiago, Chile; Pinacoteca Albertina in Turin, Italy and Museo de Arte Moderno de Cartagena. He has also participated in six international biennials as well as important art fairs such as ARTBO in Colombia, ZONAMACO in Mexico, and the LA Art Show, Art New York, Art Wynwood and Art Miami in the United States.
Andrés Pupo (Colombia, 1984) creates volumetric and abstract forms that are assembled with objects rejected by modernity. He rescues materials in the form of rubble and industrial waste to play with the context of an image on paper. Its textures allow us to glimpse the light and movement of a symbolist language that pays attention to detail. Create landscapes; dreamlike spaces that encourage coexistence between colossal animals that are juxtaposed to the existence of a tiny humanity. Andrés Pupo mixes reality with utopian worlds, perhaps habitable?, microuniverses that reveal themselves in a dreamlike moment.
Among what the work exposes, there are three important points that have been developed in the process: impossibility, time and death. The first is reflected in the constant denial of function and the highlighting of the impossible, narrating tensions and exalting oppositions. The other two, in the use of the object found in disuse or forgotten. The work creates structures of matter and stories in volumetric pieces that tend to show a certain nostalgia for their time. He makes the decision to adopt objects lying in disuse, intervenes in their lost form and function, and puts together structures where geometry is clearly expressed. Encounters with raw materials usually occur on the street. More than abandoned, the objects have scars from human violence, from the blows of the climate and from the nature of the material. They seem determined to stop being themselves with a specific function, and become the friction of time and oblivion. Next to a pipe or leaning on posts, sharing the space with the stench of urine, these various nameless people are chosen by an almost totally passionate curatorship. They are being included in an inventory that lacks that contempt and nullifies the desolation.
