"Tanya Capriles de Brillembourg, la Fundación SaludArte e IdeoBox Art Space, se unen al dolor de la familia Cruz-Diez, por la triste noticia de la desaparición física del gran Maestro: Carlos Cruz-Diez. Sin duda, una pérdida irreparable de un gran artista, pero, mas aún, de un gran hombre, amigo, padre y abuelo como pocos se han conocido. Su alegría, su energía, su bondad, supo transmitirla a todos aquellos que lo conocimos y será una figura irrepetible, tanto en lo personal como en lo artístico y profesional.
A toda la familia Cruz-Diez, a todos sus amigos, familiares y colaboradores, un fuerte abrazo en estos momentos difíciles para Venezuela y Francia, ya que pierden una figura universal que no se repetirá y que deja una herencia imborrable en nuestros corazones
On the occasion of its first collaboration with Venezuelan art collector Tanya Capriles Brillembourg, LOOP presents William Kentridge’s work Sonnets (2012) at the Cercle del Liceu. Edited to the rhythm and sound of Shakespeare’s sonnet 18, Sonnets is a flip-book film created from panels of colour painted onto book pages, the hues of which correspond to an exploration of colours for a future production of Alban Berg’s Lulu. Representative of Tanya Capriles’ vivid interest for contemporary art at large, Sonnets is part of a wider collection of works built over forty years that mainly represents Latin and Central American artists. Among them are renowned figures such as Diego Rivera, Fernando Botero, Wifredo Lam, Roberto Matta, Joaquín Torres-García, Emilio Pettoruti and Armando Reverón.
For more information visit LOOP
Liliana Porter: Other Situations at the El Museo del Barrio. On View September 13, 2018 - January 27, 2019
Other Situations is a non-linear survey of Porter’s work from 1973 to 2018, which explores the conflicting boundaries between reality and fiction, and the ways in which images are circulated and consumed. Organized by SCAD Museum of Art and curated by Humberto Moro, SCAD Curator of Exhibitions, this is the artist’s first museum solo show in New York City in more than 25 years. The exhibition highlights the fundamental distinction that Porter creates between the notions of “narrative” and “situation” in contrast to the structures implicit in most stories that suggest a relationship with time, and in which the artist is not interested. In her work, the past and future of an action becomes irrelevant in light of the urgency and absurdity of the problems faced by the figures portrayed. Sometimes paired in conversation or arranged in larger groups, Porter’s characters — a pantheon of cultural figures such as Elvis Presley, Che Guevara, Jesus, Mickey Mouse and Benito Juárez — evokes questions about representation, image dissemination and public life, and are particularly relevant in present times, when the fields of politics, spectacle and celebrity culture collide and merge. Among the significant pieces included in the exhibition are Porter’s 1970s photographs alluding to space and the body, and more recent works like the “Forced Labor” series, in which the artist utilizes miniature figurines to make a statement about reality, labor and self-awareness.
Tanya Capriles de Brillembourg, and Ideobox Artspace, join the grief that overwhelms the Venezuelan people and the immense family of the System of Children's and Youth Orchestras of Venezuela, due to the physical disappearance of our Honorary President, Maestro José Antonio Abreu. Rest in peace.
Artload is a platform focused on creating free content about contemporary art, in video interviews with professionals of all levels of the international art system.
It is an ongoing research project in which art professionals share their background, their personal and professional experiences, their thoughts on the future of the art field, and many other interesting information. They also cooperate with the conception of the interview agenda, so the methodologies and dynamics that shape Artload are essentially collaborative.
The free access to the information generated by Artload is an essential premise for the project, since it promotes debate on art practices and allows researchers to easily find relevant content. The nature of Artload’s content – free videos up to 20 minutes long, with subtitles in Portuguese – only enhances its educational purposes as it reaches audiences of various age groups and backgrounds.
Artload was conceived and is produced – in collaboration with the interview guests – by Vivian Gandelsman and Flavia Soares, who both have more than ten years of experience in working with artists, gallerists, curators, critics, collectors and emerging professionals in the contemporary art scene.
Ideobox Artspace is honored to share with you the first vintage of Bodega Otazu's limited edition iconic red wine Vitral de Otazu. This is a 30 year project collaboration with Venezuelan artist Carlos Cruz-Diez. Each year Vitral will showcase different piece, starting with 2013 vintage and ending with 2042 vintage.
Vitral will be available in both 1 and 3 bottle cases, each of which, in its own way, are design to come together to create a larger interactive piece.
For more information or to pre-reserve please contact: firstname.lastname@example.org
Upon finishing his degree in Politics and African Studies at the University of the Witwatersrand in Johannesburg, William Kentridge (Johannesburg, 1955) moved to Paris for a year to study theatre and mime. He continued working in theatre and the film industry after returning to South Africa in 1982, yet it was the visual arts which opened the world’s eyes to his output in the early nineties, particularly after his participation at the first Johannesburg Biennial (1995). From this juncture, the artist has continued to hone his stage and visual art work in parallel and side by side: both languages feed into and complement each other, overlapping to such an extent that one cannot be understood without the other.
William Kentridge. Enough and more than enough focuses on his stage work, including theatre, opera and performance, and takes this perspective to approach his sculptural projects. The cornerstone of the show is cemented by Woyzeck on the Highveld (1992), Faustus in Africa! (1995) and Ubu and the Truth Commission (1997), and the operas Il ritorno d’Ulisse (The Return of Ulysses, 1998), The Nose (2010), Lulu (2015) and Wozzeck (2017). The selection constitutes an opportunity to put in place a transversal survey which brings into focus certain constants throughout Kentridge’s work — stories with one leading character interweaving different situations and engendering more complex realities; dramas where the absurd often becomes an ally to effectively strip back and straighten out specific circumstances and contexts. The characters of Woyzeck, Ubu, Lulu, Ulysses, Faustus, and even the Nose, are either victims or tormentors of restrictive structures which punctuate, in the public and private sphere, the blight of tyranny, authoritarianism, maliciousness and corruption.
The importance placed on the creative process is another key component in Kentridge’s output — during the formulation of the foregoing pieces, drawings, prints and films are intertwined to mark the point of departure, and are either produced from them or produced simultaneously and as an accompaniment. Therefore, the exhibition compiles a broad selection of materials and mediums which pay heed to the synergies between the artist’s visual art and stage work, in addition to the different focal points and formalisations set out in each project.
Rafael Soriano: The Artist as Mystic features paintings, drawings, and pastels by the acclaimed master of geometric abstraction. The exhibition traces Soriano’s career, from early abstractions painted in Havana to his translucent late style created during his Miami exile.
Gallery Guide Miriam Alvarez Recalls Rafael SorianoI had the good fortune to meet Rafael Soriano in two ways. My late husband Dr. Rafael de la Portilla used to go out running and he met Soriano’s wife, Milagros, on his route. They would stop and have conversations. I also got to know him through a mutual friend, who was also a physician. I attended a number of exhibitions that he had in different galleries in Miami, some sponsored by the magazine Vanidades. In my estimation, Rafael and Milagros were a wonderful couple; they did everything together and it seemed she was very helpful to him. I believe she prepared his canvases according to his instructions. They were very united. I remember Rafael Soriano as a charming and quiet person, not at all pompous which he could have been as a premier painter. I am more of a traditionalist in my taste but Soriano’s beautiful, colorful, and impressive works won me over. I am so happy to have such a wonderful painter at the Frost Art Museum! -Gallery Guide, Miriam Alvarez
Exhibition Opening ReceptionSaturday, November 4 from 4:00-7:00 pm
10975 SW 17th Street, Miami, Florida 33199 | 305.348.2890 | frost.fiu.edu
The Brillembourg Capriles Collection is happy announce the participation of artists Jesus Hdez-Guero at the Karachi Biennale in Pakistan. HKB17 is Pakistan’s largest international contemporary art event that will take place every two years in Karachi. This October, over a hundred and forty artists from Pakistan and across the globe will respond to a common theme: WITNESS. Art Critic and Cultural Interventionist Niilofur Farrukh is the CEO of KB17.
Unburdened by a canon, Karachi is instead distinguished for a persistently altering memory. A maritime metropolis that embraces independent thinkers, like the Modernist Masters of the 1950s, and with three major art schools and one of South Asia’s most dynamic art gallery circuits, it is among the Art world’s best kept secrets.
KB17 invites you to remap this turbulent city - over twenty-five million strong and sprawling - through the lens of art. Hosted at twelve diverse venues, including schools, heritage sites, cinemas and public parks, the biennale draws art and the artist out of the gallery and into spaces that define Karachi’s quotidian pulse.
KB17 exhibitions, conceptualized by Amin Gulgee, its Chief Curator, with performances, screenings, and dialogue, pave way for charting new movement through familiar spaces.KB17’s two-week long, free public exhibition is an occasion for Karachiites and visitors to participate in an aesthetic, intellectual, and emotional survey of the city. It is an exploration of how her sundry communities, her individuals, and her edifices, all witness and actively negotiate their city’s persistent social and political transitions.
The team of KB17 invites the international audience to share a common vision: "Our collective witnessing will disrupt the limits of our spatial imagination. Together, we can revisit our histories, rethink our present, and reimagine our future with greater optimism."