Arias Vera en San Marcos

 "Después de vivir y exponer en Europa (9 años) y en Estados Unidos (casi 20 años), el pintor peruano Luis Arias Vera vuelve a exhibir su creación en Perú en la exposición “Efecto de Abraeldía”, que se inaugura el 3 de noviembre, a las 7:00 p.m., en las Sala Vinatea Reinoso del segundo nivel del Patio de Derecho del Centro Cultural de San Marcos.
Arias Vera fue fundador del grupo “Arte Nuevo”, que en la década de 1960 renovó el panorama de la pintura peruana. En 1967 obtuvo el Gran Premio de la Fundación para las Artes, lo cual le valió una beca. En esa ocasión viajó a Nueva York y vivió dos años en la Gran Manzana.
Ha realizado exposiciones en diversos países de Europa y América Latina. “Efecto de Abraeldía” es, para el artista, una alusión a la apertura de horizontes nuevos producida por el efecto del cruce de los abras andinos que atraviesan nuestra cordillera."







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El arte de Botero en Marlborough

Marlborough Gallery will present the first showing of a new body of work by the world renowned Colombian artist, Fernando Botero. The exhibition, entitled Via Crucis, is based on scenes from the passion of Christ. This will be Botero’s first New York exhibition since 2006 when he presented the critically acclaimed  show of paintings dealing with the events of the Abu Ghraib prison  in Iraq in 2003.


The show of Via Crucis (Latin for The Way of the Cross) will consist of twenty-seven oils on canvas of various sizes and approximately thirty-four drawings in mixed media on paper. 


One of the largest works in the show is a Pieta measuring 93 x 58” while a Descent of the Cross measures 90 by 50”. Smaller works measuring 20 x 20” lose no power from their size and are made all the more touching by their very intimacy. 


The hallmark of all the paintings regardless of size and subject is Botero’s stunning use of color that charges the works with  both seductive beauty and elemental impact. 


Just as in his paintings  of the Abu Ghraib prison, these works depicting Christ’s Passion are  intense and powerful not only because of the events depicted but also  because of Botero’s ability to convey pathos and emotion. 


Botero can  be humorous and whimsical as some of his paintings over the years  reveal, but he can also turn his considerable talents to portray tragic  events as the paintings in this show effectively demonstrated.

Via Crucis

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TWENTIETH-CENTURY ART

Tel Aviv's modern art museum 


"A display of the collection at the Tel Aviv's modern art museum, follows the chronological development of modernism and its varied expressions in Europe and the USA of the 1950s, 1960s and 1970s: American Abstract Expressionism, Art Informel, Post-Painterly Abstraction, Pop and Nouveau Rיalisme and minimal and conceptual art. Also presented are prominent trends of the creative pluralism that developed during the 1980s and characterizes post/neo-modernism."








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TWENTIETH-CENTURY ART: THE SECOND HALF - Tel Aviv Museum of Art:

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Se Roban un Picasso en Colombia

 "Yo mismo vi el Picasso en la mañana, al mediodía, a las cuatro de la tarde, pero cuando fui a apagar las luces del museo, ya no estaba”, recordó Hernández, director del museo.


“El Museo Negret funciona sin presupuesto fijo. La casa se está cayendo y ha tenido un abandono progresivo, así que cuando se robaron el Picasso no había cámaras y sólo un vigilante”, explicó.


Aunque no se trata de una de las obras más importantes o conocidas de Picasso y según Hernández estaba deteriorada, el hecho de que un grabado de un artista de talla mundial haya sido robado en Colombia no deja de ser significativo.


Además, vuelve a poner sobre la mesa cómo distintos países de América Latina son víctimas de hurtos relacionados con el arte y la propiedad cultural, una empresa criminal que genera pérdidas globales estimadas de hasta US$ 6.000 millones al año, según el FBI."


Abajo otros cuadros de Picasso que han sido robados

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    Viva el Arte de Cabusri> América Latina y el robo de obras de arte | BBC Mundo |

The art of Oleg Tistol

Oleg Tistol

"The art of Oleg Tistol (paintings, large-scale installations, photos, sculptures, and art objects) has always been in the center of the artistic process, what is illustrated by his regular participation in the international art events. Tistol's art, which emerged at the edge of the Soviet and post-Soviet epochs, combined both a critique of Soviet culture with re-evaluation of its clichés, as well as the vital, joyful, and playful atmosphere, which largely defined the appeal of the “Ukrainian new wave”. 


Combining in his works the national and soviet symbols, myths and utopias he discovered for himself the notion of simulacrum — a copy with no original. Such a paradoxical self-sustainability of propaganda as substitution for the non-existing items unexpectedly unites propaganda with pop-art. Tistol was primarily interested in its formal aesthetic aspects - stencil plates, color back-ups, smoothly painted surfaces."


In 1984, Oleg Tistol began to work on the project “Ukrainian Money”. The project was in progress until 2001 (at the beginning of the 1990s, Mykola Matsenko joined in). In this project, Tistol moved from small drawings and etchings to big panel paintings and large-scale installations. 


In Tistol's project money appears as a cultural and symbolic category, which not only marks the history of national independence (in 1918, the design for Ukrainian “karbovantsy” was developed by such famous artists as Heorhiy Narbut, Mikhail Boichuk, and Alexander Bogomazov), but also anticipates and reflects the main characteristic of contemporary Ukrainian reality. 


Combining in this project Ukrainian “historical brands”, such as the legendary Roxelana, Cossack horsemen, hetmans, and pseudo-baroque décor read through the Soviet aesthetics of stencil plates and clichés, the artist introduced the phantoms of national mythology into the explicitly of “marked spaces” of today’s market.







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