On July 13, 1959, the first exhibition of the Van Riel gallery was held. Informalist Movement in which they participated Enrique Barilari, Alberto Greco, Kenneth Kemble, Olga López, Mario Pucciarelli, Tomás Monteleoneknown as Towas, Luis Wells and Fernando Maza.
This movement incorporated into local practices procedures that were at odds with what was then called “good taste.” Gestural spontaneity and waste materials violated traditional artistic genres and paved the way for destructive art, installations and action art. A movement whose aesthetics produced a mannerism that contributed to the rapid desertion of the group that promoted it.
This group mentions: Fernando Maza to whom OTTO Gallery pays tribute with the exhibition “Enigmatic landscapes”watercolors, oil paintings and engravings curated by Maria Cristina Rossiwho has carried out intensive research on this Argentine artist born in 1936 and died in France in 2017.
In 1965 Jorge Romero Brest He invited him to participate in the Di Tella award, where he presented four paintings and on that occasion he said: “When I use graphic characters, I am aware of two intentions: to symbolize a color that is not there and at the same time to de-signify certain letters and numbers through their repeated juxtaposition to achieve a new semantic meaning.”. In the words of Luis Felipe Noahhis great friend, “His metaphysical landscapes are of great subtlety”What can be found in your work?
Walls, arches, stairs, pillars, monoliths, truncated pyramids, “I always wanted to be an architect but I never managed to graduate from high school, I still want to be one but without giving up painting”, harmonious colors, rounded angles, letters – these appeared around 1963 – stained backgrounds, remnants of informalism, in what could be called desolate landscapes. The letters support each other, appear lying down or in delicate balance, a constant is the presence of the ampersand instead of the conjunction “And” to connect words.
Romero Brest defined his work “Maza painted fictitious architectures, letters that did not form syllables, numbers that did not indicate quantity, arrows that did not point to anything”.
In 1965 he joined the Argentine representation at the VIII San Pablo Biennial. He received the Guggenheim Award in 1971, in 1985 he obtained the prestigious Palanza Prize and in 1987 the Grand Prize of Honor at the National Salon of Plastic Arts, shared with Jack Vañarsky the Fortabat Foundation Painting Prize in 1994.
This exhibition displays a set of watercolors, oil paintings and engravings made between 1975 and 2007, Rossi He points out that he stopped titling his works, but the enigma is also found in the abbreviations of the place where he painted them, for example: EC2 from 1974, carried out in London.
Among his passions were music, literature, poetry, he was influenced by the New York visual culture of graphic media, pop art, the works of Jasper Johnswhom he admired.
For those seeking some redemptive silence, they will find it in this exhibition that vindicates a true artist, and is a balm in the face of the avalanche of proposals without any consequences, because in the face of so much tumult, deafening noise, banality, the use and abuse of the word “brilliant!” to define a work, it is all an excess.
(Paraná 1158. Monday to Friday from 11 a.m. to 6 p.m.)
Beatriz Moreiro
Beatriz Moreiro Born in Buenos Aires, since 1978 she has lived in Chaco on a reserve facing a stream and the Paraná River. For a long time battle through his art for the conservation of nature that man overwhelms.
His vast career includes exhibitions both in Argentina and abroad, many awards such as the First Prize for Engraving and the Grand Prize of Honor of the National Salon 2013 and 2014, respectively.
Moreiro He listens in silence to the harmonies of everything around him, he blends in with the trees of the mountain, the estuary, the river, the earth, he listens to the song of the birds, the song of the crickets, a kind of surrender to the landscape as in the poem by Juan L. Ortiz “Oh, to live here!”: “If only it were a life sweetly lost/in so much grace of water, of tree, flower and bird/ so that it would never again have a human voice/ and would express itself only through intimate melodies/of currents, of leaves, of aromas, /of color, of transparent and free chirping…”
Moreiro He can go from graphics in which he uses subtle shades of black and white, grey, to objects – sculptures. We remember his version of the caraguatá plant, a native species with a large presence of thorns, which in Guaraní means water, made of steel that he planted in trunks obtained from clearing in a show “While the trees rest” in Praxis (2016).
At that time, he referred to how his eyes, hands and body forged deep ties with nature and his environment, expressing himself through drawing, engraving and installation. He was able to express the overwhelming power of inert, motionless trees and how intricate vegetation grew on their bark.
In his current exhibition at Biga, a gallery that opened not long ago, he presents “Intense Earth”graphic works and also elaborate sculptures-objects that intensify his interest in the environment. There are notable drawings of mushrooms, considered the fifth kingdom of nature, sometimes a dangerous enemy. The chiaroscuros achieved allow us to appreciate the depth of the volumes and the contrasts of grey provoke the great luminosity of the images.
Beatriz Moreiro has given a twist to his interpretation of nature that, as Rodrigo Alonso points out, “has transformed it into his own brand.”
(Arenales 1181. Closing on October 28.)
Source: Ambito
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