| ORGANIZACIÓN DE LOS ESTADOS AMERICANOS
EXPOSICIÓN DE DEL PARAGUAYO BERNARDO KRASNIANSKY Washington, D.C.: El Museo de Arte de las Américas se complace en anunciar la exposición de "Estereorretratos", una serie de autorretratos del artista paraguayo Bernardo Krasniansky. Esta exposición presenta una serie de aproximadamente 60 autorretratos en los cuales el artista reflexiona en la idea misma de una pintura de un retrato mediante la exploración de múltiples medios de duplicación, formulando cuestionamientos acerca del significado exacto que esto implica, es ¿una réplica? ¿una reflexión? ¿un bosquejo? ¿una impresión?, y finalmente ofrece presencias duales de estas imágenes. Krasniansky nació en 1951, en Asunción, Paraguay. Estudió pintura con Leonor Ceccotto y se graduó en Comunicaciones y Arte en la Universidad de São Paulo, Brasil. En 1977, expuso en galerías de Asunción y Porto Alegre y en el Festival Internacional Iberoamericano, en Lima, Perú. Recibió honores y premios de la Benson & Hedges Awards en el Museo de Arte Contemporáneo de Asunción (1982) y premios de la General Motors en el Museo de Arte Contemporáneo de Montevideo, Uruguay. En 1998, su obra se expuso en la Galería Mónica Filgueiras de Almeida, en São Paulo. Krasniansky no es ajeno al Museo de Arte de las Américas porque ya expuso su obra "Book VI/Heat/Boggiani/Paraguay" (1999) en la muestra de grupo realizada en mayo de 1999, Mastering the Millennium: Art of the Americas. La nueva serie de autorretratos la inició en mayo de 1999, cuando el artista tomó fotografías polaroid de dos retratos del Renacimiento en la National Gallery de Washington, D.C. En esta muestra se incluyen sesenta obras, la mayoría de las cuales son transferencias de fotografía digital, fotocopias y polaroid a lienzo y papel de algodón. Cada una de estas obras tiene una medida de solamente 30x40 cm. El artista ha acuñado para esta serie el término "Estereorretratos" (del español "estereorretrato", que significa "estereografía"), un método comúnmente utilizado en el umbral del Siglo XX. Krasniansky no utiliza esta técnica con el objeto de crear una ilusión óptica sino que lo hace para comentar sobre las formas en que la gente veía sus mundos en otras épocas. Desde 1975, Krasniansky ha estado utilizando fotocopias como una forma de expresión, y en 1977 comenzó a desarrollar su concepto de "estereorretratos" al iniciar sus primeras lecturas de Leonardo da Vinci. Recién en 1995 comenzó a producir sus "páginas de libros", las cuales consistían en la reproducción de dos páginas de un libro abierto o simplemente un detalle, reproducido como imágenes en negativos (dejando luces amarillas como azules intensos, y destacando otros colores de los negativos en particular -- verdes, amarillos, magentas). Krasniansky manipula el color de la imagen original mediante el uso de rayos de colores o mediante el uso de luces coloridas producidas por un gel como reflector. Los Estereorretratos de Krasniansky se concentran más en los conflictos relacionados con la reproducción que en los valores de la similitud. Estos son duplicados de los originales que se convierten en originales por sí mismo, como lo comenta el crítico Ticio Escobar en su ensayo titulado "Elogio del duplicado":
La obra de Krasniansky siempre trabajó el pleito que enfrenta el signo y la cosa. Ahora, encara la paradoja del retrato desdoblado a través de diversos lances. Apela, por un lado a la estereografía, procedimiento decimonónico orientado a generar la impresión de volumen a partir de la visión superpuesta de dos imágenes: los estereorretratos se basan en dos imágenes similares obligadas a formar una sola; forzadas a suturar la escisión que produce el retrato. Por otra parte, Krasniasky desorienta los trámites de la representación introduciendo sucesivas mediaciones en su proceso. Gran parte de la estrategia figurativa de Krasniansky trabaja la superposición de sucesivas capas de lenguaje que vendan lo real y desplazan sus verdades. Krasniansky reside actualmente y trabaja en Brasil. "Estereorretratos" estará exhibiéndose en la Galería del Museo de Arte de las Américas, del 3 de agosto al 28 de septiembre de 2001. De lunes a viernes, desde las 9 AM a las 5:30 PM. La inauguración oficial de esta muestra será el jueves 13 de septiembre a las 6 PM en la Galería del Museo de Arte de las Américas (17th Street y Constitution Ave, NW). Por mayor información o imágenes de la muestra sírvase ponerse en contacto con Greg Svitil Tel: 202 458 6016 Fax: 202 458 6021 E-Mail: [email protected]
BERNARDO KRASNIANSKY "ESTEREORETRATOS", AN EXHIBITION OF NEW SELF-PORTRAITS, WILL BE OPEN TO THE PUBLIC FROM AUGUST 3RD THROUGH SEPTEMBER 28TH AT THE ART MUSEUM OF THE AMERICAS GALLERY (17TH STREET & CONSTITUTION AVE, NW). THERE WILL BE A RECEPTION FOR THE ARTIST AT THE GALLERY ON THURSDAY, SEPTEMBER 13TH AT 6:00 PM. Washington, D.C.: The Art Museum of the Americas is pleased to announce the exhibition of "Estereoretratos" ("Stereo Portraits"), a series of new works by Parguayan artist Bernardo Krasniansky. This exhibition brings to the nation’s capital a series of approximately sixty self-portraits in which the artist reflects on the very idea of portraiture through exploring multiple means of duplication, posing questions of exactly what a duplication is (a replica? a reflection? an outline? an imprint?), and ultimately presenting dual presences of these images. Born in 1951 in Asuncion, Paraguay, Krasniansky studied painting with Leonor Ceccotto and graduated in Communications and Arts from the University of Sao Paulo in Brazil. In 1977, he exhibited at galleries in Asuncion and Porto Alegre and at the International Ibero-American Festival in Lima. He has received honors including prizes at the Benson & Hedges Awards at the Museum of Contemporary Art of Asuncion (1982) and at the General Motors Awards at the Museum of Contempoary Art in Montevideo (1983). And in 1998, his works were shown at the Monica Filgueiras de Almeida Gallery in Sao Paulo. Krasniansky is also no stranger to the Art Museum of the Americas, having exhibited his piece "Book VI/Heat/Boggiani/Paraguay" (1999) in the museum’s Mastering the Millennium: Art of the Americas group exhibition in May 1999. The series of self-portraits currently being produced came into development beginning in May, 1999, when the artist took polaroids of two Renaissance portraits at the National Gallery in Washington. Sixty works are included in this show, most of which are transfers onto linen and cotton paper from digital photos and photocopies, as well as from polaroids. Each of these works measures just 30x40 cm. The artist has coined the term "Estereoretratos" (from the Spanish "estereoretrato", meaning "stereograph") for these works, in reference to stereography, a medium used largely at the turn of the twentieth century. Krasniansky does not use this technique to attempt to create optical illusions, but rather to comment on the ways in which people in other time periods viewed their worlds. Krasniansky has been using photocopies as a form of expression since 1975, and began to develop his concept of "stereo portraits" from his first readings of Leonardo da Vinci in 1977. It wasn’t until 1995 that he began to produce his "book pages," involving the reproduction of either two open book pages or simply a detail, reproduced as nagative images (leaving yellow lights as intense blues, and stressing other colors particular to negatives-- greens, yellows, magentas). Krasniansky manipulates the color of the original image either by using a color flash or by using colored light produced with gel as a reflector. Krasniansky’s "Stereo Portraits" focus more on conflicts involved in reproduction than on the values of likeness. These are duplications of originals that become originals in and of themselves, as art critic Ticio Escobar points out in his essay "In Praise of the Duplicate." Escobar continues:
Krasniansky’s work has always dealt with the struggle between the symbol and the object. Now it appoaches the paradox of the duplicated portrait by various avenues. On the one hand he tries stereography, the 19th century technique of creating an impression of volume by superimposing two images. On the other hand, Krasniansky confuses the procedure of representation by introducing successive approximations. Much of Krasniansky’s figurative strategy deals with superimposing successive layers of language that bandage reality and displace its truths. Krasniansky currently resides and works in Brazil. "Estereoretratos" will be on view at the Art Museum of the Americas gallery from August 3rd through September 28th. Gallery hours are Monday to Friday from 9 AM to 5:30 PM. The official opening of this exhibition will be on Thursday, September 13th at 6 PM at the Art Museum of the Americas gallery (17th Street and Constitution Ave, NW). For further information or images please contact Greg Svitil Tel: 202 458 6016 Fax: 202 458 6021 E-Mail: [email protected]
The Art Museum of the Americas at the Organization of American States is pleased to announce the exhibition of figurative works of the permanent collection. This exhibition will be on view through Sunday, September 30.
Revisiting the figure in the permanent collection When the museum opened in 1976 the collection numbered 250 works. Today, the collection has grown to close to 2000 objects in varying media including painting, sculpture, prints, drawings and installations. It is one of the most comprehensive of its kind in the United States. Its history, like most of the present-day programs of the museum, has roots in the former Visual Arts Unit of the Organization of American States. Under this unit, the first donation of art was received in 1949. In 1957 the OAS Council conferred institutional backing to the collection by establishing a modest Purchase Fund to support the acquisition of art for a collection which was to reflect the contemporary art of the member nations of the OAS. Some highlights of the collection include works by Amelia Pelaez, Joaquin Torres Garcia, Emilio Pettoruti, Candido Portinari, Roberto Matta, Pedro Figari, Alejandro Obregon, Fernando de Szyszlo, Maria Luisa Pacheco and Jesus Soto. The current exhibit from the collection focuses on the human figure and (on the second floor) includes a sampling of some of the museum’s most recent acquisitions. The last century has seen a progressive evolution throughout South and Central American in portraying the human figure. In Colombia, Fernando Botero set about reducing the values and institutions of bourgeois society to shreds, portraying its members as overstuffed giants. Also in Colombia, Alejandro Obregon produced compositions of exuberant color with fragmented but structurally articulated human forms. In Venezuela, Jesus Soto provided the dynamic of movement in his "kinetic" works. Meanwhile, Cuban Amelia Pelaez reinvented ambient reality, recalling the architectural moldings and stained-glass windows of old Havana in her work. Exhibit Checklist
First Floor Entranceway Pedro Figari (Uruguayan, 1861-1938), Candombe undated, oil on canvas
El Patio 1935, oil on cardboard
Gallery 1 Emilio Pettoruti (Argentine 1892-1971 )La Ultima Serenata 1937oil on canvas Gift of IBM. Candido Portinari (Brazilian,1903-1962) Return from the Fair 1940 oil Gift of Jose Gomez-Sicre. Hector Poleo (Venezuela, 1918-1989) Familia Andina 1944 oil on canvas Gift of IBM. Amelia Pelaez (Cuban,.1896-1968) Blue Angel 1945 gouache on paper Gift of Joseph Cantor.
Waiting Lady 1944 gouache on paper Gift of Joseph Cantor. Fernando Botero (Colombia, b. 1932) Girl With Bow 1982 bronze
Gallery 2 Alejandro Obregon (Colombian, 1920-1992) El Velorio (The Vigil) 1956 oil on canvas Rafael Coronel (Mexican, b.1932) Todo Juntos II 1965 oil on canvas. Cuatro Figuras 1965 oil on canvas Gift of Mr. and Mrs. Lewis Helms Jose Luis Cuevas (Mexican b.1933) The Giants 1971 lithograph Autorretrato con Saskia 1978 etching Armando Morales (Nicaraguan, b.1927) Figures, 1972 oil on canvas Juan Carlos Liberti (Argentine, born 1930 Invierno (Winter) 1972 oil on canvas
Gallery 3 Ignacio Iturria (Uruguayan) Piedad Guadalupe 1989, arylic on paper Fidelio Ponce (Cuban 1895-1949) Amigas 1937 oil on canvas Leopoldo Presas (Argentine b. 1915) El Cerdo y su Amante, 1960 oil on composition board 1960 Alirio Rodriguez (Venezuelan b. 1934) Proposicion de una Cabeza a la Velocidad del Rojo 1968 oil on canvas Kapo (Jamaican 1911-1989) Solomon 1970 oil on canvas mounted on board Mauricio Lasansky (Argentine b. 1914) Kaddish I, 1975 color etching/intaglio Claudio Bravo (Chilean b. 1936) Fur Coat Back and Front, 1976 lithograph Gift of Samuel M. Greenbaum and Helen Marx Families in Memory of Helen Marx Greenbaum
Gallery 4 Georges Liautaud (Haitian, b. 1899) Crucifixion 1959 cut and forged oil drum metal Luis Fernando Pelaez Colombian b 1945) Puertos I c 1992 mixed media: iron, resin, glass, wood Edgar Zuñiga(Costa Rican b. 1950) Familia 1996 wood assemblage Carlos Zerpa (Venezuelan b. 1950) Despecho (Despair) 1996 iron Gabriel de la Mora (Mexican b. 1968) Cirilo 1997 mixed media on canvas Octavio Blasi (Argentine b. 1960) Yellow Portrait 1998 mixed media Maria Dolores Castellanos (Guatemalan b. 1958) Desatame 1998 mixed media
Second Floor Entranceway Bernarndo Krasniansky (Paraguayan, b. 1951) Book VI/Calor/Boggiani/Paraguay (1999) transfer and acrylic on paper
Gallery 5 Roberto Cortazar (Mexican, b. 1962) Nude charcoal drawing on canvas Gift of Dr. Mervin Silverberg Alvaro Barrios (Colombian b. 1945) The Devil Showing Christ Worldly Delights 1992 ink and watercolor on paper Alexander Apostol (Venezuelan b. 1969) Laberinto (Labyrinth) 1995-97 black-and-white photograph/ inkjet print on canvas Gift of Ricardo Quirós Pablo Van Wong (Colombian b. 1957) Ya toca el tambor no cesa de hacerlo c 1996. mixed media: glass, metal, resin, photographs Gustavo Zalamea (Colombian b. 1951) El estudio de la belleza es un duelo el artista grita de dolor antes de ser vencido 1996 oil on canvas Mario Benjamin (Haitian b. 1964) Untitled 1999 mixed media Carolina Mayorga (Colombian, b. 1970 ) The Displaced 1, 2000 wood, clothes, hanger, casters ********** |