A program of Cámara de Comercio de Bogotá
A cultural program of:
A program of Cámara de Comercio de Bogotá
A cultural program of:
LOS CARPINTEROS (Cuba) Making presence and being present are actions that unusually coincide in the world of art, until the day when, unexpectedly, its redeemable power sublimely reaches us. And it is to that memorable and ephemeral moment that LGM Galeria summons us through the extraordinary exhibition of the now-extinct Los Carpinteros collective, with works from the Dagoberto Rodríguez collection, a collection that includes a decade (2009-2018) of collective creativity that Together with Marcos Castillo, they will continue as an artistic pairing until their separation in 2018.
In the Los Carpinteros exhibition that inaugurates our new space, the creativity of the collective is present by integrating iconic examples from the multiple series that identified their artistic collaboration during its last decade of existence. The work of Los Carpinteros always challenged our senses and the pragmatism of our daily interpretations, evidenced relevant historical moments in its environment, always in a lucid and playful way. His works are testimonies committed to the time that inspired them, and will always occupy a space in moments in which the historical analysis reviews the commitment of his creativity in the context in which they were created.
In these times of historical transition, LGM Galeria has the privilege of offering an exhibition that invites, through the wit and wit of Los Carpinteros, to rest our incessant thinking to exist in a state of absolute contemplation, suspended in an imaginary time in everyone and each of the multiverses present in the exhibition.
LGM Galería represents national and international artists since 1995. Founded by Luis Guillermo Moreno, its mission is to promote, disseminate and commercialize modern and contemporary art worldwide. It has professionals specialized in Spain and Italy in areas of expertise, appraisal and restoration of artistic heritage, and its extensive experience in the commercialization of Colombian and Latin American art stands out, both in Colombia and in Spain, Venezuela, Mexico, Peru, and the United States. , China, Korea, Singapore, among others.
Luis Guillermo Moreno, director of LGM Galería, is one of the few professional gallery owners that Colombia has: a visionary who has dedicated more than 25 years of uninterrupted work in the sector to open new spaces for the dissemination, promotion and commercialization, especially of art. Colombian and Latin American around the world, participating in various fairs in America, Asia and Europe, and in turn generating synergies with museums and galleries in different latitudes. Trained in professional restoration and appraisal of works of art, he is above all passionate about his craft. His main concern in parallel to the gallery's activities is to develop strategies for training audiences, favoring the general public's approach to plastic art.
Los Carpinteros Havana, Cuba, 1992 - 2018 The Cuban collective formed by Marco Antonio Castillo Valdés (Camagüey, Cuba, 1971) and Dagoberto Rodríguez Sánchez (Caibarién, Cuba, 1969), began their professional career in 1992, together with Alexandre Arrechea, who in 2003 began his solo career. In the beginning they used recycled materials -especially wood- to make their works, and they adopted the name of their collective in 1994 to embrace the union tradition of artisans and skilled workers. Fascinated by the intersection between art and everyday life, Los Carpinteros fused architecture, design, drawing and sculpture in extravagant and unpredictable ways. His carefully crafted constructions promote a humorous visual language of contradiction and transformation, such as utilitarian versus useless and form versus function. His drawings and studies, which reference technical drafts and blueprints, poke fun at the early planning stages involved in creating art. The Los Carpinteros collective is a central piece of the permanent (re) construction puzzle that is contemporary Latin American art. Despite the fact that these categories -regional, national or continental- are always reductionist and, in a certain sense, unsuccessful, the production of both artists is nourished by a seed from which all their works germinate: Cuba. In turn, the island shares with the continent, from the Gulf of Mexico to Patagonia, a series of circumstances that have reverberated in a forceful way in the artistic creation of the entire region: historical facts, political-social events, a colonial wound. solid and transversal like Los Andes. And alongside this, a cultural hybridity that defies all canons and a sense of humor capable of sustaining itself in the midst of catastrophe. It is precisely this ambivalent character, of difficulty and enjoyment at the same time, that has been an inexhaustible source of inspiration for artists and has deeply marked their creative universe. During their 26 years of experience, Los Carpinteros experimented with almost all disciplines -sculpture, photography, drawing, installation, video- using a huge diversity of materials -wood, brick, paper, metal, plastic, concrete, fabric, among others. In all cases, his works challenge the public, causing a real intellectual check, a blow to his mental, logical and rational architecture. "But this? There? How?" Asks the bewildered spectator, in front of pieces whose dysfunctionality is an authentic apology to the mistake. Apparently it is a formal question, for example, when artists manipulate or deform objects. However, in most cases, his works do not really present any physical change, they simply appear displaced from their context or their natural state. After 26 years together, this group dissolved in the summer of 2018, to seek new individual horizons. However, his pieces are present in different public and private collections, such as the TATE Modern in London, the Georges Pompidou Center in Paris, the MoMA in New York or the Daros Latin America Collection in Zurich.
Los Carpinteros Havana, Cuba, 1992 - 2018 The Cuban collective formed by Marco Antonio Castillo Valdés (Camagüey, Cuba, 1971) and Dagoberto Rodríguez Sánchez (Caibarién, Cuba, 1969), began their professional career in 1992, together with Alexandre Arrechea, who in 2003 began his solo career. In the beginning they used recycled materials -especially wood- to make their works, and they adopted the name of their collective in 1994 to embrace the union tradition of artisans and skilled workers. Fascinated by the intersection between art and everyday life, Los Carpinteros fused architecture, design, drawing and sculpture in extravagant and unpredictable ways. His carefully crafted constructions promote a humorous visual language of contradiction and transformation, such as utilitarian versus useless and form versus function. His drawings and studies, which reference technical drafts and blueprints, poke fun at the early planning stages involved in creating art. The Los Carpinteros collective is a central piece of the permanent (re) construction puzzle that is contemporary Latin American art. Despite the fact that these categories -regional, national or continental- are always reductionist and, in a certain sense, unsuccessful, the production of both artists is nourished by a seed from which all their works germinate: Cuba. In turn, the island shares with the continent, from the Gulf of Mexico to Patagonia, a series of circumstances that have reverberated in a forceful way in the artistic creation of the entire region: historical facts, political-social events, a colonial wound. solid and transversal like Los Andes. And alongside this, a cultural hybridity that defies all canons and a sense of humor capable of sustaining itself in the midst of catastrophe. It is precisely this ambivalent character, of difficulty and enjoyment at the same time, that has been an inexhaustible source of inspiration for artists and has deeply marked their creative universe. During their 26 years of experience, Los Carpinteros experimented with almost all disciplines -sculpture, photography, drawing, installation, video- using a huge diversity of materials -wood, brick, paper, metal, plastic, concrete, fabric, among others. In all cases, his works challenge the public, causing a real intellectual check, a blow to his mental, logical and rational architecture. "But this? There? How?" Asks the bewildered spectator, in front of pieces whose dysfunctionality is an authentic apology to the mistake. Apparently it is a formal question, for example, when artists manipulate or deform objects. However, in most cases, his works do not really present any physical change, they simply appear displaced from their context or their natural state. After 26 years together, this group dissolved in the summer of 2018, to seek new individual horizons. However, his pieces are present in different public and private collections, such as the TATE Modern in London, the Georges Pompidou Center in Paris, the MoMA in New York or the Daros Latin America Collection in Zurich.
Los Carpinteros Havana, Cuba, 1992 - 2018 The Cuban collective formed by Marco Antonio Castillo Valdés (Camagüey, Cuba, 1971) and Dagoberto Rodríguez Sánchez (Caibarién, Cuba, 1969), began their professional career in 1992, together with Alexandre Arrechea, who in 2003 began his solo career. In the beginning they used recycled materials -especially wood- to make their works, and they adopted the name of their collective in 1994 to embrace the union tradition of artisans and skilled workers. Fascinated by the intersection between art and everyday life, Los Carpinteros fused architecture, design, drawing and sculpture in extravagant and unpredictable ways. His carefully crafted constructions promote a humorous visual language of contradiction and transformation, such as utilitarian versus useless and form versus function. His drawings and studies, which reference technical drafts and blueprints, poke fun at the early planning stages involved in creating art. The Los Carpinteros collective is a central piece of the permanent (re) construction puzzle that is contemporary Latin American art. Despite the fact that these categories -regional, national or continental- are always reductionist and, in a certain sense, unsuccessful, the production of both artists is nourished by a seed from which all their works germinate: Cuba. In turn, the island shares with the continent, from the Gulf of Mexico to Patagonia, a series of circumstances that have reverberated in a forceful way in the artistic creation of the entire region: historical facts, political-social events, a colonial wound. solid and transversal like Los Andes. And alongside this, a cultural hybridity that defies all canons and a sense of humor capable of sustaining itself in the midst of catastrophe. It is precisely this ambivalent character, of difficulty and enjoyment at the same time, that has been an inexhaustible source of inspiration for artists and has deeply marked their creative universe. During their 26 years of experience, Los Carpinteros experimented with almost all disciplines -sculpture, photography, drawing, installation, video- using a huge diversity of materials -wood, brick, paper, metal, plastic, concrete, fabric, among others. In all cases, his works challenge the public, causing a real intellectual check, a blow to his mental, logical and rational architecture. "But this? There? How?" Asks the bewildered spectator, in front of pieces whose dysfunctionality is an authentic apology to the mistake. Apparently it is a formal question, for example, when artists manipulate or deform objects. However, in most cases, his works do not really present any physical change, they simply appear displaced from their context or their natural state. After 26 years together, this group dissolved in the summer of 2018, to seek new individual horizons. However, his pieces are present in different public and private collections, such as the TATE Modern in London, the Georges Pompidou Center in Paris, the MoMA in New York or the Daros Latin America Collection in Zurich.