MSA-X 2019 coverage of Piero Atchugarry Gallery

We thank, Piero Atchugarry Gallery and the staff for there kind help, we also thank the artist for there creative phenomena.

"What I really want to tell you" | Atchugarry Art Center, Miami , 2019

The55project is thrilled to invite you to the exhibition “What I really want to tell you...” presented at Fundación Pablo Atchugarry.

May 10 - August 31st

Tuesday to Friday: 9-5pm

Saturdays: 11-5pm

Curated by ...Jennifer Inacio with Flávia Macuco Pecego this exhibition explores the cultural, social and political histories of Brazil. The participating artists question these issues and externalize their examinations through art that impact, inspire and engage, becoming their own manifestos of exploration, interrogation, and change. While responding to our contemporary moment, the exhibition highlights ways in which art stimulates and inform new ideas in times of divergent realities.⠀⠀⠀⠀⠀⠀⠀

The exhibition features 14 Brazilian artists:⠀⠀⠀⠀

Almandrade • Jonathas de Andrade • Liene Bosquê • Paulo Bruscky • Anna Bella Geiger • Rubens Gerchman • Ivan Grilo • Randolpho Lamonier • Vanderlei Lopes • Gabriela Mutti • Paulo Nazareth • Regina Parra • Rosana Paulino • Mano Penalva

Hosted by: Fundacion Pablo Atchugarry | 5520 NE 4th Ave, Miami

Sponsored by:

Consulate General of Brazil in Miami

FedEx Express

Supported by:

Galeria Murilo Castro, Galeria Karla Osório, Galeria Athena, Periscóipio Arte, Galeria Nara Roesler, Alexander and Bonin, Central Galeria.

INFO: info@the55project.comWhat I really want to tell you

"What I really want to tell you" | Atchugarry Art Center, Miami , 2019

The55project is thrilled to invite you to the exhibition “What I [...]

Piero Atchugarry Gallery, "Wifredo Lam: sus años en Cuenca", Miami 2019

Wifredo Lam: sus años en Cuenca por Raisa Clavijo Especial/el Nuevo [...]

Piero Atchugarry Gallery, "Room for Failure" Miami, 2019

Room for Failure is a group exhibition about the thought process and [...]

Room for Failure is a group exhibition about the thought process and connection that exists between the mental space of the creator and the end result (the artwork)—the subjective versus ...the objective. It is often associated with the simple action of defeat, collapse, and non-success. Although “failure” has a negative connotation and it is read as a condition of not meeting a desirable objective, it often translates as a human, poetic, and magical moment that leads to triumph. The sixteen artists in this exhibition tend to function outside the norm of artmaking, where concepts charged with political, social, and personal histories collide with the use of unusual materials. The performative and the presence of the body bridge the soul to a particular moment in time.

ektor garcía’s mis manos crean lo que soy was produced in Guadalajara for the show Oficio y Materia at the Museo de Arte de Zapopan (MAZ). The piece is presented as an installation with multiple elements, such as ceramics and fabric, which evoke a chaotic universe that is in fact a reflection of the artist’s mind. It serves as a psychological self-portrait of time lived yet failing to be defined.

André Komatsu will exhibit three works that have been produced and chosen in conversation with the theme of the exhibition and carefully selected for the gallery space. These works serve as a metaphor for failed political systems in Latin America, a prevalent and seemingly recurrent condition since the postcolonial period. A bent iron bar supported on the wall by small nails confronts and engages the viewer with fragility and tension, akin to the precarity of the diverse systems throughout the region. In another work, orchestrated with cement bags deliberately and symmetrically ordered on the floor, the artist exposes and displays their contents through geometric incisions.

The Israeli artist Nahum Tevet‘s works from the 1970s to the present explore the disintegration and deconstruction of space and systems, using minimalism as a point of departure. For Room for Failure, Nahum will contribute a recent wall sculpture that is structurally complex and, while seemingly confusing, the very composition fails to “read.“

These three artists are exemplary of some strategies and interpretations of "failure" among the many other participating artists, including: Carmen Argote, William Cordova, Eugenio Espinoza, Cristian Franco, Dorian Gaudin, David Ireland, Pooneh Maghazehe, Guadalupe Maravilla, Michail Michailov, Irini Miga, Gabriel Rico, Martha Tuttle, and Sergio Vega.

Eugenio Espinoza: Good Blue Day, Piero Atchugarry Gallery, Miami,2019-20

Eugenio Espinoza: Good Blue Day, Piero Atchugarry Gallery, [...]

Eugenio Espinoza: Good Blue Day, Piero Atchugarry Gallery, Miami,2019-20
About

The Piero Atchugarry Gallery presents Good Espinoza began his career by subverting the modernist grid, and is celebrating his work in reacting ...to the dominant movements of geometric abstraction and kinetic art in Venezuela in the 1960's and 1970's. For the past 50 years, Espinoza has continued his courageous and in-depth investigations of the grid. Good Blue Day presents a dynamic directory of new work using metal, color and an increased sense of play for the first time. In 2014 the Peréz Art Museum Miami (PAMM) hosted Espinoza's only exhibition “Unruly Supports. ”In addition to an essay by the curator of the exhibition catalog will feature a new interview with the artist by PAMM Executive Director Franklin Sirmans.Good Blue Day's will debut with a soft opening on December 1st and an Art Basel Miami Beach-week opening.

Curated by Claire Breukel, Good Blue Day offers a selection of new work by Espinoza never-before exhibited publicly. As the title paradoxically implies, Good Blue Day presents the layered tension within Espinoza's oeuvre. Collectively, these works juxtapose the duality of his practice - controlled / uncontrolled, formal / informal, grid / chance, offering a playful, simultaneous entry point to re-read Espinoza's work. Newer and previous work will be exhibited together thematically rather than chronologically. This exhibition aims to present Espinoza's work without the laudity of institutional politics, and rather with a new blue bread that shows an unconstrained and "support-less" approach.In addition, Espinoza's work is presented non-geographically to show the eclectic contexts from which the artist is currently resides, among others. Claire Breukel shares:

Eugene Espinoza is an artist of the Americas "

Good Blue Day at Piero Atchugarry Gallery during Art Basel Miami Beach, which draws to mass of international curators and collectors. Piero Atchugarry explains:

“When I met Eugenio I was inspired by his dynamism and his free approach to making, changing, reproducing and expanding upon his work. To me he is one of the most important contemporary artists of his time, and his boundary breaking investigations, his signature grid

The public opening reception of Good Blue Day will take place in December during the Art Basel. Miami Beach at the Piero Atchugarry Gallery. The opening is free and open to the public.

Jorge Riveros: Abstracción Eterna, Fundacion Pablo Atchugarry

Jorge Riveros: Abstracción Eterna, Fundacion Pablo Atchugarry The [...]

Dagoberto Rodriguez: Planeta de Cristal, Piero Atchugarry Gallery,2021

Dagoberto Rodriguez: Planeta de Cristal, Piero Atchugarry Gallery,2021 [...]

Dagoberto Rodriguez: Planeta de Cristal, Piero Atchugarry Gallery,2021

About

The Piero Atchugarry Gallery presents Planeta de Cristal ( Crystal Planet ), a futurist solo exhibition of video work, watercolor work, and an ...immersive installation by one of the most influential Cuban artists of the turn of the century, Dagobert Rodríguez. Conceived almost entirely during the outbreak of the pandemic, Crystal Planet seeks to imagine a future That endures beyond the unfulfilled promises of modernism, and the fragile state of the earth's present social, political, and environmental circumstances. Curated by AlunaCuratorial Collective (Adriana Herrera & Willy Castellanos), Crystal Planet is also the inaugural show of Rodríguez's representation in Miami. Dagoberto Rodríguez Sánchez was born 1969 in Caibarién, Las Villas and graduated from Instituto Superior de Arte (ISA), La Habana, Cuba in 1994. Upon finishing his Arts degree in 1994, he spent another three months of compulsory military service. In 1992 he co-founded the historic-artistic collective Los Carpintero (1992-2018). Currently working between Madrid and Havana, Rodríguez combines architecture, design, and sculpture, using humor and irony to express himself on core themes in art, politics, and society. His work is in permanent collections of major institutions such as MOMA, Whitney Museum of American Art, Guggenheim in New York, Center Georges Pompidou in Paris, Tate Modern in London, and Museo Centro de Arte Reina Sofia in Madrid among others.

The title and the works exhibited in Crystal Planet alert us to the earth’s vulnerabilities. The exhibition is, as Aluna Curatorial Collective states, “a space to face the winds of political anomie and ecological destruction. The title and the works exhibited in Crystal Planet are a measurement of our vulnerability and activate various warning signs that in some way interrupt the vertiginous nature of a critical time.” Watercolor landscapes of sinking remind us that we inhabit this Crystal Planet and that it is increasingly urgent to find ways of living together that not only protect our species but also prevent the extinction of other kingdoms. In other watercolors, as the curators explain, Rodríguez takes up the monumental design of complex architectures particularly inspired by fascist dreams of dominance and surveillance and transmutes them into spaces of "paideia"— fictional places for shared learning, and/or communal ways of living out of the shadows. In recent years Rodríguez has drawn labyrinthine tunnels which, behind their beauty, harbor the terrible possibility of trapping you within them. Now, Rodríguez invites us to enter his Túnel , a large interactive tunnel that he designed throughout 2020. This time, there is an exit, not only within the exhibition space but within the passage of the present that we fulfill by daring to imagine: "Think for example—he says—of a world in which it would be possible to be happy where you are born." To the curators' point, “Rodríguez uses, but simultaneously transcends, the deconstructive strategies of parody and play, of humor and political irony, and ends up building a scenario that proposes an immersion in the possibility of imagining alternate futures.”

Located in Tierra Garzón, Uruguay, the Piero Atchugarry is a contemporary art gallery effective on primary and secondary market.