Observatorio, 2007. Sculpture, Carving and modeling in wood, 7 9/10 × 27 3/5 × 8 7/10 in (20 × 70 × 22 cm)
Category: Press Releases
Abstraction and Constructivism: Continuity and Breakdown of Latin American Modernity / ArtNexus
Abstraction and Constructivism: Continuity and Breakdown of Latin American Modernity / Art Circuits
Manolo Vellojin – Art Agenda
Art Nexus – Tridimensional Dialogue
Carmelo Arden Quin – Retrospective 1938 – 2009
In honor of Master Szyszlo 86th birthday
In honor of Master Szyszlo
86th birthday
Fernando de Szyszlo (Lima, Peru, 1925)
Master Szyszlo is the most important exponent of Abstract Expressionism in America. His work is represented in several public collections such as: Museo del Arte, Lima – Peru, Instituto de Arte Contemporáneo, Lima – Peru, Museo de las Americas, Washington – USA, Museo de Arte Moderno de Mexico – Mexico, Museo de Arte Moderno, Bogota –
Colombia , Guggenheim Museum, New York – USA, Museo de Bellas Artes de Caracas – Venezuela, Museum of Modern Art, Rio de Janeiro – Brazil, Rufino Tamayo Museum, Mexico – Mexico, Museo Nacional de Bellas Artes, Buenos Aires – Argentina. In 1966 he participated in the symposium “Resonant autour d’André Breton,” in honor of the centenary of poet Breton and in 2003 in a retrospective at the del’Amerique Latine Paris’Maison and the following year at the American Institute of Rome.
The cultural community of Miami is honored with the visit of master Szyszlo and will celebrate its 86 years.
Exhibition open from November 29 until January 30, 2012
Carlos Evangelista – Derivaciones Concretas
Mr & Mrs. Cesar Segnini cordially invite you to the
opening reception of
Carlos Evangelista
Derivaciones Concretas
and request the pleasure of your company to meet the artist
Friday June 24th, 7 pm
Painting and sculpture by Carlos Evangelista received his latest bet, where he faces to create a peaceful harmony, both by the use of dynamic forms comes from a rigorous internal order, technical perfection, the minimalist concept of rhythm and balance in each of his pieces, that condensed and contains, combining statism on one side and dynamism to the other. His work comes with full aesthetic sense without necessarily having to resource to literary gimmick or sophisticated preciousness, along three lines, well-defined, well-organized the space from a geometric shape in which the size and color are contrasted harmoniously to achieve a balanced rhythm of the surface or by a formal group freer and less rigid in not intended correspondences more or less accurate, but where the inspiration runs without adding the master plans. The sculptures are projected on parallel tracks, starting from the plane, they move to free ways to continue the requirement of accuracy and order. The different thicknesses and material relief, finally are in favor of a more simple concept, the light is the element that determines the changes in the final order of the shapes.
21 Artists / 21 Sculptures
Mr & Mrs. Cesar Segnini cordially invite you to the Opening Reception of
21 Artists / 21 Sculptures
Friday April 8, 8 p.m
@ Durban Segnini Gallery
Modernism, abstraction and geometry in a variety of expressive resources – wood, bronze, iron, aluminum, plexiglass – are intertwined in a language of volumes and shapes which gives a strong visual coherence to this show of 21 sculptors.
Elisa Arimani, William Barbosa, Pedro Barreto, Milton Becerra, Pedro Briceño, Germán Botero, Agustín Cárdenas, Daniel Couvreur, Roberto Estopiñan, Carlos Evangelista, Bolívar Gaudin, Gay Garcia, Julio Le Parc, Edgar Negret, Cesar Paternosto, Ramírez Villamizar, Carlos Rojas, Antonio Seguí, Jesús Soto, Fernando de Szyszlo, Víctor Valera.
Ramírez Villamizar / Fanny Sanín – DISCIPLINE IN PAINTING AND SCULPTURE
Mr. and Mrs. Cesar Segnini cordially invite you to the opening reception of
Ramírez Villamizar / Fanny Sanín
LA DISCIPLINA EN PINTURA Y ESCULTURA
DISCIPLINE IN PAINTING AND SCULPTURE
Friday May 14, 7 – 10 pm,
at Durban Segnini Gallery
DISCIPLINA EN PINTURA Y ESCULTURA / DISCIPLINE IN PAINTING AND SCULPTURE
“It is not uninteresting to see how the luxuriant nature of the American continent, its intense baroque style and its magical realism have engendered a movement as rigorous as that of concrete abstract art. The asceticism of this artistic tendency seems to contradict the eloquence characteristic of everything American which manifested itself since the florid times of the chroniclers, passing through modernism until the present day. Nevertheless, that is how it has been. In Uruguay and Argentina, where the “Madí” movement was born; in Venezuela, where cybernetics and optical art came into their own; in Brazil, mother country of concrete poetry; or in Colombia, where the abstraction represented by Eduardo RamÍrez Villamizar and Fanny Sanin, among others, has flourished” Carlos Luis
Eduardo Ramírez Villamizar (1923 – 2003). He started out as an expressionist, a trend he left behind in 1950 in Paris when discovered new geometric abstractionist trends. After going through a transition where geometry and the figurative style merged, he carried out in 1955 the first non-objective mural that was made in Colombia. In 1959, he received first prize in painting at the XII National Artists Fair with the piece Horizontal en blanco y negro, and that same year he made the mural Relieve dorado at the head office of Banco de Bogotá, a piece of large dimensions which clearly alluded to pre-Columbian designs. As a sculptor, he used wood, plexiglass and iron (painted until 1984, oxidized henceforth).
Fanny Sanín ( 1938 – ). Fanny Sanín has created a sort of counterpoint between the anticipated and the unexpected. The anticipated represents in her paintings the meticulous labor she has invested in carrying out her compositions. Fanny Sanín, then, belongs to the great tradition of abstract painters who, making reference to what Leonardo labeled ostinato rigore, chose the route of mental painting just as the legendary Leonardo himself requested. But, oddly, the great Renaissance figure also advised to discover the creative possibilities of a floor stain. The unexpected, then, follows along behind rigor. I feel that the great polyphony of colors in Fanny Sanín’s painting, whose richness may be seen in the plumage of native American birds, produces a different kind of effect: the unexpected effect of the magic that is hidden in them. In this way, Fanny Sanín does not stray from a trajectory filled with illustrious footprints. C.L. Colombian artist Fanny Sanín lives and works in New York.